32 posts
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Post by londontheatrefan on Feb 8, 2019 17:19:53 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. I agree, I didn't feel anything either. I just found it hard to connect with it on Monday. Maybe my expectations were too high, it has the potential to be a great play but I left feeling it was just good, whereas I watched the film and instantly connected. Likewise I didn't feel the extras brought anything to the play. I loved Lily and Monica and Gillian too, though for me it wasn't quite up there like Streetcar, but that's mainly due to the production rather than her. I found a cheap ticket for this evening so I'll see if I change my mind! |
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32 posts
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Post by londontheatrefan on Feb 8, 2019 22:13:17 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. I agree, I didn't feel anything either. I just found it hard to connect with it on Monday. Maybe my expectations were too high, it has the potential to be a great play but I left feeling it was just good, whereas I watched the film and instantly connected. Likewise I didn't feel the extras brought anything to the play. I loved Lily and Monica and Gillian too, though for me it wasn't quite up there like Streetcar, but that's mainly due to the production rather than her. I found a cheap ticket for this evening so I'll see if I change my mind! Tonight's performance was much improved from Monday's. Changes have been made, there seems to be a little more action on the actual stage, and the ending is much better. Gillian too seems much more at ease in the role, while Lily was great as always (she sounds like she has a cold!) and Monica killed it once again. I'm still not entirely connecting with it, but it was more enjoyable than the first time. Interesting crowd sitting near me though, those who didn't walk out or spend the entire time filming or taking photos were very restless, although the reception to the actors at the end was very warm and enthusiastic. I'm interested in what reception it'll get from the critics next week. |
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Post by Deleted on Feb 8, 2019 22:15:57 GMT
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. Verfremdungseffekt is very poorly translated as alienation. It's been a weight around its neck ever since that mistake was made by Willett. A better translation is 'the effect of making something unfamiliar/strange'.
Brecht wanted the audience to see things in a new light, not to be 'alienated'. As such, it's never been about negation of emotion and an audience approaching it that way has been misled. The emotion is, instead, built from the audience's realisation of what they hadn't realised.
Brecht's work is very emotional, just one that is aimed at cause not effect. The emotion comes from a realisation of the truth, not a cynical manipulation of feelings. He would have been having a field day at skewering these 'post-truth' times.
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Post by Deleted on Feb 8, 2019 22:41:18 GMT
I agree, I didn't feel anything either. I just found it hard to connect with it on Monday. Maybe my expectations were too high, it has the potential to be a great play but I left feeling it was just good, whereas I watched the film and instantly connected. Likewise I didn't feel the extras brought anything to the play. I loved Lily and Monica and Gillian too, though for me it wasn't quite up there like Streetcar, but that's mainly due to the production rather than her. I found a cheap ticket for this evening so I'll see if I change my mind! Tonight's performance was much improved from Monday's. Changes have been made, there seems to be a little more action on the actual stage, and the ending is much better. Gillian too seems much more at ease in the role, while Lily was great as always (she sounds like she has a cold!) and Monica killed it once again. I'm still not entirely connecting with it, but it was more enjoyable than the first time. Interesting crowd sitting near me though, those who didn't walk out or spend the entire time filming or taking photos were very restless, although the reception to the actors at the end was very warm and enthusiastic. I'm interested in what reception it'll get from the critics next week. Where were you sitting? The ushers in the stalls seemed very vigilant, everyone around me was engrossed and only one person got up to go to the bathroom in the entire half of the stalls I could see in front of me (I was Row O). The only thing that distracted me was the lack of rake that meant I had to keep moving my head to peer around the head that kept moving in front of me! Overall, I thoroughly enjoyed the play and think the current ending works (though some might argue it is a bit cliched or too obvious) - I'd be intrigued to know what the ending originally was, at least I can now safely read back through the thread. I did think some of the dialogue was a bit overblown and stating the obvious, and some of the additional screen use a bit too much, with some awkward camera work going on. It is very effective at other points though, particularly in the ladies room scene towards the end. The cast are uniformly excellent - Monica Dolan is indeed superb, and Gillian Anderson also very good (though I agree with whoever said she was better in Streetcar). Lily James was the highlight for me - I admit it took me a while to not be a bit distracted by her accent, as it's practically the same one she used for Mamma Mia 2 and does occasionally slip back into an English one momentarily, but from a slow burning start (which seemed to be deliberate and worked for the character), she hit her stride in the second half as her character gets more development and really is wonderful towards the end. And she sings beautifully while keeping it in character. I'm not sure this will get complete raves - it manages to be both experimental and entirely predictable at the same time, the background music is a bit much in places and the transitions between scenes are often too long, but the cast deserve to get very good notices and I expect the reviews to be positive on the whole. I'd give it 4 stars. |
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Post by Deleted on Feb 8, 2019 22:45:58 GMT
Also there is no rule against re-entry, at least in the stalls. The ushers were escorting people to the toilets and then back - a woman who went out a few rows from me was re-seated in an empty seat on the end of a row when she returned to avoid disturbing everyone again.
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32 posts
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Post by londontheatrefan on Feb 8, 2019 22:59:52 GMT
Tonight's performance was much improved from Monday's. Changes have been made, there seems to be a little more action on the actual stage, and the ending is much better. Gillian too seems much more at ease in the role, while Lily was great as always (she sounds like she has a cold!) and Monica killed it once again. I'm still not entirely connecting with it, but it was more enjoyable than the first time. Interesting crowd sitting near me though, those who didn't walk out or spend the entire time filming or taking photos were very restless, although the reception to the actors at the end was very warm and enthusiastic. I'm interested in what reception it'll get from the critics next week. Where were you sitting? The ushers in the stalls seemed very vigilant, everyone around me was engrossed and only one person got up to go to the bathroom in the entire half of the stalls I could see in front of me (I was Row O). The only thing that distracted me was the lack of rake that meant I had to keep moving my head to peer around the head that kept moving in front of me! Overall, I thoroughly enjoyed the play and think the current ending works (though some might argue it is a bit cliched or too obvious) - I'd be intrigued to know what the ending originally was, at least I can now safely read back through the thread. I did think some of the dialogue was a bit overblown and stating the obvious, and some of the additional screen use a bit too much, with some awkward camera work going on. It is very effective at other points though, particularly in the ladies room scene towards the end. The cast are uniformly excellent - Monica Dolan is indeed superb, and Gillian Anderson also very good (though I agree with whoever said she was better in Streetcar). Lily James was the highlight for me - I admit it took me a while to not be a bit distracted by her accent, as it's practically the same one she used for Mamma Mia 2 and does occasionally slip back into an English one momentarily, but from a slow burning start (which seemed to be deliberate and worked for the character), she hit her stride in the second half as her character gets more development and really is wonderful towards the end. And she sings beautifully while keeping it in character. I'm not sure this will get complete raves - it manages to be both experimental and entirely predictable at the same time, the background music is a bit much in places and the transitions between scenes are often too long, but the cast deserve to get very good notices and I expect the reviews to be positive on the whole. I'd give it 4 stars. I was sat up in the circle, thankfully near the front so I could see the screens. Quite a few people had toilet breaks, but there were two guys near me who left and didn't come back. The phones were everywhere, and conveniently they didn't see the staff trying to warn them, so they kept on filming! (staff were really good but the people were dead centre so they couldn't get to them).I completely agree about the background music, there was one scene tonight where it sounded so loud that I struggled to hear some of the dialogue. I echo your rating, tonight I felt was four stars, it was good despite a lack of connection but the other night it would have just scraped three. If it could tighten up a little, lose a little more camera work and make a few more subtle changes I think it could be great. |
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Post by frosty on Feb 10, 2019 9:03:02 GMT
I was at Company last Wednesday (loved it, and luckily got to see it the night before the cancelled show) and the American lady next to me said she had been to see All About Eve the day before. I told her we were seeing it Saturday and what did she think of it? She absolutely hated it! Not a single good word to say about it, but I went in with an open mind, one mans meat etc... But I could see what she meant. Some of the directorial choices were bizarre. We were in the centre of row D in the stalls, so had a great view of the stage and the screen above and the kitchen and bathroom in the wings...but I'd imagine anyone further back would struggle to see the whole thing. I didn't get the point of the birthday party scene where all the action in the kitchen was on screen, for no apparent reason, and also the restaurant scene where characters were sat with their backs to the audience, but a camera spinning around them. I couldn't quite work out the era it supposed to be set in either, the clothing didn't seem right for the 40s, especially the men with their very tight trousered suits and a close up of a tube of cocktail sticks in the kitchen with a very visible bar code on it. And the constant incidental music was a constant distraction....
I agree with previous posters, the standout performance was Monica Dolan as Karen, but I got zero chemistry between her and Lloyd. I thought Gillian Anderson needed to turn up the sassyness and attitude, I expected a bit more Karen Walker. Such a shame, I had been really looking forward to this, such great material and a great cast, but it all looked like it was trying to be too gimmicky for me.
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Post by Deleted on Feb 10, 2019 14:20:37 GMT
Has van Hove become too fixated on using video? His Angels and his A View from the Bridge stripped all artifice from the props and staging and were both devastatingly compelling in their simplicity.
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Post by floorshow on Feb 10, 2019 15:10:46 GMT
Has van Hove become too fixated on using video? His Angels and his A View from the Bridge stripped all artifice from the props and staging and were both devastatingly compelling in their simplicity. Antigone was pretty sparse, Lazarus had a bit of video just for the perspective change in the rocket bit, it's only Network that really went all in. |
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Post by Deleted on Feb 10, 2019 19:42:19 GMT
in the same way that artificial light and the ability to manipulate it changed theatre we are beginning to experience a new change, where the artificial barriers between different media are broken down, merged, switched etc.
The advent of dimmable gas lighting led Wagner to wanting a darkened auditorium, with Henry Irving following a couple of years after. Both realising that it would enhance the illusions that they wanted to create. This separation of stage and auditorium changed plays and the acting too, allowing for realism and fourth wall as opposed to the overt theatricality employed previously. That never completely eliminated what came previously and there isn't any chance of what we have now completely disappearing yet, either.
Now, however, we have two artforms, able to inhabit the same space. Screens are no longer bleached out by more powerful stage lighting, digital media allows for instant projection at a very high resolution and, just as importantly, the audience are well versed in the differing languages of both screen and live performance.
It's an exciting time and, although I won't be around to see even greater changes to come, it's fascinating to see how theatre, playwriting, directing and acting are scrambling to catch up. The lack of critical vocabulary is an issue at the moment, the old specialisms and divisions of criticism are lagging behind. Directors like Van Hove and Mitchell are the vanguard, testing things out, succeeding, sometimes failing but they have made a start.
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Post by westendcub on Feb 11, 2019 22:05:21 GMT
I enjoyed this play, I actually really liked the set & direction for this with the camerawork & pre-filmed elements.
It does like some bite, felt there need needed to a bigger scene between ‘Eve’ & ‘Margo’ in Act 2 however this didn’t drag for m and 2 hours 10 mins not an issue.
Gillian excelled in the party scene and Lilly towards the end of the play.
I was sat on row A Grand Circle and yes whilst hand rail is in sight (you soon get used to it) and it was a good seat (I could see the main screen perfectly) but yes in the next level you would be able to look at the smaller screens & not the one on stage.
Can see how this play will divide opinion and debate!
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Post by frankubelik on Feb 12, 2019 8:46:53 GMT
I really echo "frostys" comments here. Monica Dolan is the standout performer and totally agree about the lack of chemistry between her and Rashan Stone as her playwright husband. Lily James is very good but I found Ms Anderson far too languid overall and even from the fourth row struggled to hear her at times (AND she was miked!) Sheila Reid is similarly underpowered. The entire production lacks pace and the really annoying use of music is misplaced (as is the song - bizarre). I found the use of the video distracting overall and simply did not understand why everyone was crammed into the kitchen for the party scene (flashback to similarly ridiculous moments in COMPANY). It's a great and intriguing story deserving of a First Class production which this ultimately does not deliver. It needs a good ten minutes shaved off the time which, with some tighter direction should be altogether possible.
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Post by n1david on Feb 12, 2019 9:01:51 GMT
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Post by Deleted on Feb 12, 2019 9:09:25 GMT
Well. I found this very frustrating, it's far too long, too tricksy and some parts are buttock-numbingly dull but then you get some flashes of brilliance. I thought the best performance came from Lily James, who I thought was terrific even when she's in the background, just watching and planning. And when Eve turns, she's pretty psychotic but Lily doesn't really overplay it (this ain't no 'Fatal Attraction' [sadly]), she was quite chilling I thought. Gillian Anderson was more disappointing I thought, she looks utterly sensational swanning around in a selection of red outfits and her lack of vanity at times is admirable but you struggle to hear her sometimes and most shamefully, seeing as Margo gets some absolutely fabulous lines, she barks out her lines in the same monotonous tone as though she only discovered the script 5 minutes before going on. But then there are some absolutely glorious moments, mostly when she's reacting and not speaking and some wondrous looks. I can't quite decide if it's a dreadful performance or not (although she does improve a little after the drunken scene (which she's great in actually).
On the plus side you do get Julian Ovenden in a lovely selection of very snug outfits (God bless you An D'Huys) where you are reminded of his night with Reg in the right light, Monica Dolan in a sparkly frock clearly designed to distract your eye should she be in danger of tumbling out of it (which she quite magnificently stops herself from doing), some delightful waiters preparing a few vol-au-vents in the kitchen, a fabulous bit of ageing trickery on the screens and the sight of a drunken Gillian Anderson falling in the bath.
Some of the video work is a bit dull and really, all that style and yet Margo has got one of the ugliest kitchens I've seen. I can't for the life of me understand why everyone wanted to spend so much time in it.
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Post by timothyd on Feb 12, 2019 10:29:58 GMT
Quite a few spoilers in your post there Ryan. Would you mind putting them in the spoiler tags?
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32 posts
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Post by londontheatrefan on Feb 12, 2019 12:55:25 GMT
How did the play end last night? I know there have been a few and I'm intrigued as to how it's turned out so close to press night
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Post by Deleted on Feb 12, 2019 13:17:58 GMT
How did the play end last night? I know there have been a few and I'm intrigued as to how it's turned out so close to press night With a standing ovation from the great unwashed natch. {Cross Channing Ferry}
Eve comes home from the awards show and Addison basically tells her he owns her now. She plays the piano and a new "Eve" jumps out from the bed and presumably the whole thing starts again as she says the same things Eve told Karen at the beginning. New Eve looks into the camera and gives us all a little wink. Lights down. Bows. La Anderson in a silver frock. |
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Post by Mark on Feb 12, 2019 13:19:24 GMT
Quite a few spoilers in your post there Ryan. Would you mind putting them in the spoiler tags? You're reading a thread about the play. There's really no need for spoiler tags. |
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Post by juicy_but_terribly_drab on Feb 12, 2019 13:53:48 GMT
Quite a few spoilers in your post there Ryan. Would you mind putting them in the spoiler tags? You're reading a thread about the play. There's really no need for spoiler tags. Some people like to read opinions before they go/before they book, myself included, and I'd like to be able to avoid spoilers for the plot if possible. I don't think that's unreasonable. |
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Post by floorshow on Feb 12, 2019 14:22:46 GMT
With a standing ovation from the great unwashed natch. Yikes, too easily misread.. |
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Post by drmaplewood on Feb 12, 2019 16:35:35 GMT
With a standing ovation from the great unwashed natch. Yikes, too easily misread.. Guilty lol |
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Post by Deleted on Feb 12, 2019 16:58:07 GMT
How did the play end last night? I know there have been a few and I'm intrigued as to how it's turned out so close to press night With a standing ovation from the great unwashed natch. {Cross Channing Ferry}
Eve comes home from the awards show and Addison basically tells her he owns her now. She plays the piano and a new "Eve" jumps out from the bed and presumably the whole thing starts again as she says the same things Eve told Karen at the beginning. New Eve looks into the camera and gives us all a little wink. Lights down. Bows. La Anderson in a silver frock. That seems to be the settled ending then, it was the same last Friday. |
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Post by Deleted on Feb 12, 2019 17:05:44 GMT
With a standing ovation from the great unwashed natch. {Cross Channing Ferry}
Eve comes home from the awards show and Addison basically tells her he owns her now. She plays the piano and a new "Eve" jumps out from the bed and presumably the whole thing starts again as she says the same things Eve told Karen at the beginning. New Eve looks into the camera and gives us all a little wink. Lights down. Bows. La Anderson in a silver frock. That seems to be the settled ending then, it was the same last Friday. It's basically . . {Margo-go-go Joseph, you know what they say . . }
. . the film's plot so I don't think Ivo had to think too much about it. There's always someone coming ups behind you to steal your crown. It's the circle of life as Elton John once said. |
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Post by partytentdown on Feb 12, 2019 18:28:17 GMT
I'm confused? The ending changed? Can someone else (in spoiler tags)
Thanks
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Post by couldileaveyou on Feb 12, 2019 18:33:43 GMT
Isn't that basically the ending of the movie?
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