212 posts
|
Post by l0islane on Feb 5, 2019 22:13:41 GMT
Sure {Spoiler - click to view}
From what I remember on Saturday at the end the girl who appeared in the bed, picked up the red dress did some strange dance and started running around like a crazy person and then screamed and it ended. Yesterday she just picked up the red dress and put it on and spun around in a circle like she was dreaming of being Eve/a star and then it ended. Ah today had another new ending then. I have no clue how to do spoilers or I would put it here. Oh please do (just click the picture of the face in the toolbar and a spoiler box will come up for you to write in). |
|
378 posts
|
Post by Ade on Feb 5, 2019 22:27:19 GMT
Maybe the people who can’t ‘hold it in’ should go to relaxed performances? I agree that it’s unfair on those people to go worrying they will be caught short and then not allowed re-entry, or simply not go because of the running length, I think they are being quite strict about the no re-entry rule too. A girl in front of me disappeared about an hour in and didn’t return. Her belongings and her friends were still very much in the auditorium so I can only assume she was told she couldn’t return. |
|
212 posts
|
Post by l0islane on Feb 5, 2019 22:48:42 GMT
Maybe the people who can’t ‘hold it in’ should go to relaxed performances? I agree that it’s unfair on those people to go worrying they will be caught short and then not allowed re-entry, or simply not go because of the running length, I think they are being quite strict about the no re-entry rule too. A girl in front of me disappeared about an hour in and didn’t return. Her belongings and her friends were still very much in the auditorium so I can only assume she was told she couldn’t return. Oh really? That's not what they're claiming on twitter! |
|
378 posts
|
Post by Ade on Feb 5, 2019 22:52:04 GMT
I think they are being quite strict about the no re-entry rule too. A girl in front of me disappeared about an hour in and didn’t return. Her belongings and her friends were still very much in the auditorium so I can only assume she was told she couldn’t return. Oh really? That's not what they're claiming on twitter! Hmm maybe she was otherwise incapacitated then. But she definitely left her stuff and I spotted her friends exchange a confused ‘where is she’ about 20 mins after she had gone out. |
|
5,149 posts
Member is Online
|
Post by Being Alive on Feb 6, 2019 1:01:09 GMT
I’m low-key furious as to the extent in which this has been made restricted viewing.
I’ve got balcony tickets booked, but if they’ve had to install SCREENS so that you can see what’s happening, I might flog the £15 and just watch the screening. I’m really cheesed off because it’s classic Ivo - make something massively video tech-centric and not actually give a monkeys about how an audience can see it.
For an entire level to hardly be able to see anything is actually a shambles - and almost all the tickets up there were £25!
|
|
|
|
Post by timothyd on Feb 6, 2019 10:59:04 GMT
I paid 25 for tickets at the end of the balcony but I can't see the play?!?!
|
|
|
|
Post by timothyd on Feb 6, 2019 11:06:56 GMT
Re: The cinema and interval discussion: Most cinemas in Holland do have an interval and that means that it doesn't happen often that people leave during the film.
|
|
|
|
Post by mosessupposes on Feb 6, 2019 12:16:11 GMT
I’m low-key furious as to the extent in which this has been made restricted viewing. I’ve got balcony tickets booked, but if they’ve had to install SCREENS so that you can see what’s happening, I might flog the £15 and just watch the screening. I’m really cheesed off because it’s classic Ivo - make something massively video tech-centric and not actually give a monkeys about how an audience can see it. For an entire level to hardly be able to see anything is actually a shambles - and almost all the tickets up there were £25! Long time reader of Theatreboard but first time commenter - be nice! :-) I just wanted to alleviate your fears a bit souchyboyy because I saw the show from the Balcony on Saturday and really loved it! Wouldn't want you to miss out because you think it is all on screens - it isn't. The screens are there because there are bits that happen off stage - or really far upstage/in specific rooms that dont look like they can be seen by ANYONE in the theatre and they are filmed and projected above the main action - in classic 'van hove' style. so its just those bits that the screens show. For the majority of the show it was a great view of the main stage. Although when I looked to book I think the £15 seats are in the slips so they probably have more of a restricted view than I did straight on to the stage in the £25 seats. |
|
406 posts
|
Post by MrBunbury on Feb 6, 2019 13:02:38 GMT
I saw it from a £15 sit in the Balcony last night and I could see everything on screen because there was one on both sides of the balcony (ideally it would be better to see that behind the main stage as wealthy theatregoers can do). I enjoyed it without being enthused (I am not convinced the live music and the videos add that much). Monica Dolan is superb and Gillian Anderson is very good. I guess I went with high expectations because the movie is amazing.
|
|
5,691 posts
|
Post by lynette on Feb 6, 2019 19:35:46 GMT
I’m low-key furious as to the extent in which this has been made restricted viewing. I’ve got balcony tickets booked, but if they’ve had to install SCREENS so that you can see what’s happening, I might flog the £15 and just watch the screening. I’m really cheesed off because it’s classic Ivo - make something massively video tech-centric and not actually give a monkeys about how an audience can see it. For an entire level to hardly be able to see anything is actually a shambles - and almost all the tickets up there were £25! Long time reader of Theatreboard but first time commenter - be nice! :-) I just wanted to alleviate your fears a bit souchyboyy because I saw the show from the Balcony on Saturday and really loved it! Wouldn't want you to miss out because you think it is all on screens - it isn't. The screens are there because there are bits that happen off stage - or really far upstage/in specific rooms that dont look like they can be seen by ANYONE in the theatre and they are filmed and projected above the main action - in classic 'van hove' style. so its just those bits that the screens show. For the majority of the show it was a great view of the main stage. Although when I looked to book I think the £15 seats are in the slips so they probably have more of a restricted view than I did straight on to the stage in the £25 seats. Thanks for what is a clarification re screens, mosessupposes, and welcome to the Board. |
|
|
|
Post by mosessupposes on Feb 6, 2019 19:38:35 GMT
Long time reader of Theatreboard but first time commenter - be nice! :-) I just wanted to alleviate your fears a bit souchyboyy because I saw the show from the Balcony on Saturday and really loved it! Wouldn't want you to miss out because you think it is all on screens - it isn't. The screens are there because there are bits that happen off stage - or really far upstage/in specific rooms that dont look like they can be seen by ANYONE in the theatre and they are filmed and projected above the main action - in classic 'van hove' style. so its just those bits that the screens show. For the majority of the show it was a great view of the main stage. Although when I looked to book I think the £15 seats are in the slips so they probably have more of a restricted view than I did straight on to the stage in the £25 seats. Thanks for what is a clarification re screens, mosessupposes, and welcome to the Board. :-) Thanks. I'm going to go back to lurking in the background now. :-) |
|
|
|
Post by happytobehere on Feb 6, 2019 21:15:33 GMT
I saw this last night & I really enjoyed it. I wasn’t familiar with the story beforehand but it was pretty obvious immediately where it was going. Decent story but lifted but some fantastic performances. Lily James’ accent wavered a little in the beginning but she was fantastic when she got going in my opinion. Gillian Anderson was obviously a delight but I actually feel like she wasn’t given that much to work with. In agreement with some of those above, the best performance has to go to Monica Dolan as Karen who gave comfortably the most complex performance.
I didn’t like the screens at the very beginning but I started to love the staging (screen included) after a while. I’m not sure what changed in that time but it did- it felt like a clever way to make it look like there’s more sets for the actors to perform in.
I would personally avoid sitting far back in the stalls like I was last night, all the way in Row V because you really miss all the screen stuff despite the small monitors that are placed towards the back. Clear view of all actors & you can make out their expressions too so it’s not so bad.
Tempted to return but if I do it’ll definitely be closer to the stage.
|
|
19,676 posts
|
Post by BurlyBeaR on Feb 6, 2019 21:21:47 GMT
Thanks for what is a clarification re screens, mosessupposes, and welcome to the Board. :-) Thanks. I'm going to go back to lurking in the background now. :-) Nooooooo! Please stay and join in. We really value input from new members. |
|
1,485 posts
|
Post by Steve on Feb 7, 2019 17:58:56 GMT
Saw the matinee and loved it. It's very different from the film, as you'd expect from Van Hove: where the film is all moment to moment melodrama, this is all stately, doom-laden, Titanic floating toward an iceberg. Some spoilers follow. . . The mise en scene felt typically expansive, Visconti style, with lots of things happening, but a stately and foreboding classical music backdrop and lingering huge slow-motion style snapshots of close-up action cue an atmosphere of a slow progression towards inevitable doom, which I take to be Van Hove's point of view regarding the actions of everyone and everything in this. Van Hove uses the colour red as a kind of motif to signify life's doomed target, so Gillian Andersen imperiously drifts about in red items for the first half of the play, culminating in her wearing a crimson headscarf, whereupon Lily James wears luminous blood red to signify life's doomed baton being passed to yet another victim. The performances in this are perfect for Van Hove's aesthetic. Whereas in the film, Bette Davis was a fanatically flailing wasp, swiftly sadistically stinging all and sundry, Anderson is regal, gliding gracefully through her vicissitudes, infusing her lines with a bitter mournfulness that culminates in a massive close-up of her face literally appearing to age in front of us. For aging, not Eve, is this Margot's true iceberg, and her Titanic majesty cannot resist it, but must search for a way to accept her doom. Lily James' Eve is almost as wonderful a creation. James' own radiant enthusiasm is here effectively corrupted into twitching stalking envy, and in her Faustian pact for fame, she finds her Mephistopheles in Stanley Townsend's smooth, self-satisfied, all-business, Weinstein-like Addison DeWitt, every bit as much of an iceberg for Eve as Father Time is for Margot. With sublime decadent supporting performances by Julian Ovenden and multiple gloomy wisps of cigarette smoke, only Monica Dolan valiantly battles the fate that engulfs all the characters, and you can guess how she fares. All in all, a marvellous, slightly disjointed, nonetheless revelatory depiction of the slow hand of fate engulfing us all. 4 and a half stars.  |
|
524 posts
|
Post by callum on Feb 7, 2019 18:30:45 GMT
Checked the website just after 2pm today and there were seats in Row K stalls going for £25 for the matinee that was starting in 30 mins - alas I was at work but dynamic pricing is in full flow it seems!
|
|
781 posts
|
Post by latefortheoverture on Feb 7, 2019 20:34:06 GMT
Checked the website just after 2pm today and there were seats in Row K stalls going for £25 for the matinee that was starting in 30 mins - alas I was at work but dynamic pricing is in full flow it seems! Dynamic pricing really is the work of the devil! |
|
4,985 posts
|
Post by Phantom of London on Feb 8, 2019 1:32:16 GMT
I was there this afternoon also and have to say Lily James’ performance aside, I thought this was pretty dreadful and couldn’t get into it. No different from Van Hove’s Network at the National That Also relied too much of video/projection and The too familiar backing music to add to the dramatic intensity, no interval so not to distract the intensity, the only problem is that what I found the production lacked.
2 Stars
|
|
128 posts
|
Post by beatrice on Feb 8, 2019 12:24:36 GMT
They're showing this in a cinema in Stockholm!! I've convinced my thesis partner that we need a night of semi-theatre and we're taking a trip up! Very excited, since I likely won't get a chance to see this live!
|
|
5,143 posts
Member is Online
|
Post by TallPaul on Feb 8, 2019 12:30:22 GMT
They're showing this in a cinema in Stockholm!! I've convinced my thesis partner that we need a night of semi-theatre and we're taking a trip up! Very excited, since I likely won't get a chance to see this live! Well as half of the scenes seem to take place on screens anyway, those actually in 'the room' only have a night of semi-theatre. 🙂 |
|
|
|
Post by Deleted on Feb 8, 2019 15:11:31 GMT
For a play about the theatre it was devoid of any theatricality.
To use the Titanic analogy, it sailed along steady, and hit the iceberg, the end. Did it sink? Did people die?
Also, as a big ol gay it was devoid of camp. I do enjoy Gillian drunk acting.
I felt there was no need for any of the extras, there seemed to be this constant battle of scale between grand and intimate.
There were many alienating elements which resulted in a restrained applause at the end.
I felt there should have been a more Becketian repeattiveness to the cycle of aging and fandom.
All in all as my companion said ‘theatre should make you feel something, I felt nothing’.
I think the venue was wrong even though I was stalls 3rd row perfect view.
|
|
1,970 posts
|
Post by sf on Feb 8, 2019 15:40:24 GMT
Saw the matinee and loved it. It's very different from the film, as you'd expect from Van Hove: where the film is all moment to moment melodrama, this is all stately, doom-laden, Titanic floating toward an iceberg. I also saw it yesterday afternoon, and my response was very similar to yours. I loved it - the production is elegant, mesmerising, and ice-cold (which is absolutely right for the material), and Gillian Anderson and Lily James are stunningly good. |
|
1,970 posts
|
Post by sf on Feb 8, 2019 15:41:31 GMT
All in all as my companion said ‘theatre should make you feel something, I felt nothing’. To be fair, that goes with the material. The source film is brilliant but chilly, and the response it provokes is more intellectual than emotional. |
|
|
|
Post by Deleted on Feb 8, 2019 15:53:04 GMT
All in all as my companion said ‘theatre should make you feel something, I felt nothing’. To be fair, that goes with the material. The source film is brilliant but chilly, and the response it provokes is more intellectual than emotional. But it wasn’t chilling in my opinion, I felt it provoked more laughter than horror. Each revelation of Eve’s scheming unfolded without any shock but more amusement. I loved Gillian but James character at the beginning didn’t feel developed. If alienation aims to provoke an intellectual response how is that response the carried beyond the theatre, a problem we all know with Brecht’s work. Celebrity is a revolving door and fandom isn’t so much about the star as about the fan. I don’t feel any of the themes were explored below surface level. |
|
1,970 posts
|
Post by sf on Feb 8, 2019 15:58:21 GMT
To be fair, that goes with the material. The source film is brilliant but chilly, and the response it provokes is more intellectual than emotional. But it wasn’t chilling in my opinion, I felt it provoked more laughter than horror. Each revelation of Eve’s scheming unfolded without any shock but more amusement. I loved Gillian but James character at the beginning didn’t feel developed. If alienation aims to provoke an intellectual response how is that response the carried beyond the theatre, a problem we all know with Brecht’s work. Celebrity is a revolving door and fandom isn’t so much about the star as about the fan. I don’t feel any of the themes were explored below surface level.
I said chilly, not chilling. There's a difference.
|
|
|
|
Post by Deleted on Feb 8, 2019 17:19:30 GMT
I am just chillin' here.
|
|
