|
|
Post by Deleted on Feb 15, 2019 11:10:02 GMT
No blood whatsoever.
|
|
4,155 posts
|
Post by kathryn on Feb 15, 2019 11:16:37 GMT
Thanks!
|
|
|
|
Post by Deleted on Feb 15, 2019 11:24:34 GMT
Has the run time for this settled down now? What time is an events information show coming down, roughly? It was pretty much exactly 2 hours last Friday. |
|
|
|
Post by Deleted on Feb 15, 2019 11:25:29 GMT
My friend who faints at stage blood read a review that mentioned 'horror', and needs to know if there's a gore warning on this. Any blood? Psychological horror/thriller territory is fine for her, it's literally the red stuff that sends her over the edge. No blood, but there is the general consequence of too much alcohol consumption (although thankfully just heard, not seen!). |
|
212 posts
|
Post by l0islane on Feb 15, 2019 14:09:16 GMT
Curious about how the sightlines are with all of this screen malarkey. Where is the main screen? Directly above the stage? Slightly concerned as we splashed out on £15 slip seats.  Still looking forward to it, if only so we can listen to PJ's mood music. Slips in the Grand Circle or Balcony? They've been 'upgrading' people in the middle grand circle slips because the view is so bad (at least they're listening!). My friend was upgraded to the second row stalls. When I went on Weds they moved me to the slips on the opposite side (couldn’t really see the point in that!). The most entertaining bit was watching them explain to people that they’d ‘upgraded’ them from the grand circle to the balcony (a central seat on the balcony rather than the slips of the grand circle). The four people I saw given balcony seats clearly did not feel like it was an upgrade!! (to be fair they hadn’t seen the view at that point). I think the grand circle slips are OK for what you pay, a good part of the stage is obscured but you can see the screen/s without any problem. |
|
19,676 posts
|
Post by BurlyBeaR on Feb 16, 2019 17:58:36 GMT
Curious about how the sightlines are with all of this screen malarkey. Where is the main screen? Directly above the stage? Slightly concerned as we splashed out on £15 slip seats. Still looking forward to it, if only so we can listen to PJ's mood music. The main screen is above what would normally be the back wall of the stage. But it’s not the back wall because it keeps going up to reveal another room. But you get my drift. I could see two tv screens on the proscenium arch. No idea if there are more up there. Anyway I really enjoyed this. I’ve never seen any of the directors work before so haven’t had the opportunity to become jaded with the video stuff. I thought it worked really well. Great performances all round, I found it quite gripping. And to the woman whose phone rang right in the middle of that revelatory scene between Karen and Eve in the restaurant bathroom, didn’t switch it off so it rang again, and then a bloody third time before she FINALLY switched it off... you are a disgrace madam. |
|
999 posts
|
Post by Backdrifter on Feb 18, 2019 15:45:02 GMT
My friend who faints at stage blood read a review that mentioned 'horror', and needs to know if there's a gore warning on this. Any blood? Psychological horror/thriller territory is fine for her, it's literally the red stuff that sends her over the edge. No blood, but there is the general consequence of too much alcohol consumption (although thankfully just heard, not seen!).What, someone's liver grinding to a halt?! |
|
999 posts
|
Post by Backdrifter on Feb 18, 2019 15:47:47 GMT
My friend who faints at stage blood read a review that mentioned 'horror', and needs to know if there's a gore warning on this. Any blood? Psychological horror/thriller territory is fine for her, it's literally the red stuff that sends her over the edge. Some here have issues with IvH but I'm quite intrigued by the idea of turning All About Eve into some sort of Peckinpah-style bloodbath. |
|
421 posts
|
Post by Distant Dreamer... on Feb 18, 2019 15:58:43 GMT
I adore this film, one of my favourites of all time.
"Bill's 32. He looks 32. He looked it five years ago. He'll look it 20 years from now. I hate men." 
Would be nice to see this production, but so immensely overpriced and reviews seem awful. |
|
|
|
Post by Deleted on Feb 18, 2019 18:31:20 GMT
No blood, but there is the general consequence of too much alcohol consumption (although thankfully just heard, not seen!).What, someone's liver grinding to a halt?! Ha! Well, maybe I should have said the short term stomach-related consequence! |
|
524 posts
|
Post by callum on Feb 18, 2019 23:22:24 GMT
Very much enjoyed it - though the Van Hove wizardry is not as seamless as it was in Network. But Anderson & James are superb. I was Row E of the gallery (literally the back of the theatre) and did feel quite disconnected, which was exacerbateed by the nutters around me and an old lady thrashing around and leaning forward so vigorously I thought she was going to launch herself off the edge. I would love to go again and try for day seats on Row B.
|
|
899 posts
|
Post by bordeaux on Feb 19, 2019 16:44:35 GMT
www.theguardian.com/film/2019/feb/19/all-about-eve-perfect-feminist-film-play-the-favouriteFascinating article in today's Guardian, which compares the film to both The Favourite and to the stage version, of which it is very critical: 'It says something about a male director that he would take one of cinema’s greatest scripts, one that puts complex, difficult, powerful and ambitious women at its centre, and reduce the main characters to wailing, reckless divas who cry about a few crow’s feet under the eyes or beg their husbands not to leave them'.
|
|
152 posts
|
Post by alnoor on Feb 22, 2019 22:25:02 GMT
I have just noticed that the top premium seats have now gone from £150 to £175.
|
|
|
|
Post by floorshow on Feb 22, 2019 23:39:44 GMT
I have just noticed that the top premium seats have now gone from £150 to £175. Very reasonable! Three figures for a ticket for anything makes me twitchy but £350 for a night out... Are they actually shifting them at that price? |
|
|
|
Post by mathh on Feb 23, 2019 8:27:29 GMT
In the dayseat queue for today.
Arrived at 7:45, only one person in front of me.
Now it's 8:25 we are 8 people in the queue not sure there is a chance for people coming after
|
|
|
|
Post by mathh on Feb 24, 2019 10:50:09 GMT
So I got day seats for yesterday night performance.
I really liked it, and I have to admit, might be a bit in love with Lily James (I was already since Romeo and Juliet at the Garrick). The play was really entertaining and as I didn't know the plot at all, I enjoyed it even more.
The best thing for me was second row seats and meeting Lily James quickly at the stage door after the show. She was lovely and took time signing programs.
|
|
|
|
Post by Deleted on Feb 24, 2019 11:41:55 GMT
I will echo EmiCardiff on this. Didn’t move me at all but I found it intellectually interesting and overall very enjoyable. Part of it might be that I find the story that women are in competition with each other to be very old fashioned, and this did nothing to refresh, update or offer a different angle on it. Part of me wonders what Marianne Elliot might do with it (but I wonder that about a lot of things these days.)
I did love Gillian Anderson’s wardrobe. That dress at the end looked like it was made of golden mercury. I enjoyed the split-screen effect with live theatre and live video, but I couldn’t help think that this could have been more tightly integrated if the sound of the party had been audible instead of the music, which I found a bit intrusive at times. Having seen Tortured yesterday, I felt the same about much of the use of music there. It has a sort of alienation effect on me as I can’t stop thinking about how difficult it must be to keep a pre-recorded score in synch. Maybe someone who knows more about these things can enlighten me?
I thought Network was more successful, more layered. Not sure if that might be because it was my first time seeing an Ivo Van Hove production, maybe it gets played out very quickly?
|
|
19,676 posts
|
Post by BurlyBeaR on Feb 24, 2019 12:14:22 GMT
That party went on an awfully long time didn’t it? Nice to see that the old put your coats over the bed trick is international party etiquette though.
I thought the music fitted well but I’m getting a bit tired of that technique where a low undercurrent of ‘noise’ is used to create a feeling of tension. It’s often like a continuous ‘drub drub drub’ sound underneath the dialogue. Very distracting.
|
|
3,307 posts
|
Post by david on Feb 26, 2019 23:35:27 GMT
Having watched this tonight, I’ve got mixed feelings about this production. While I enjoyed the performances (Gillian Anderson playing drunk was a definite highlight) from the entire cast on stage, there was something about its staging that just didn’t sit right for me. For me the use of the high tech Ivan Van Hove used here just seemed out of place for the production. When I watched Network at the NT last year, I was blown away by its staging and what Van Hove created on stage. Though the high tech approach suited Network down to a T being set in a news room and all the creative camera work both on stage and behind the scenes really was great to watch unfold. In All About Eve, I don’t think employing the same techniques were as effective and at times was a distraction. Ok, there were moments I was impressed (e,g the ageing of characters), but overall having seen the majority of the same techniques previously, I was less impressed. My view with using a high tech approach is that it has to aid the plot moving forward, and here it didn’t unfortunately. Maybe if I this had been my first Van Hove production in this style I might have been more impressed. I thought the music fitted well but I’m getting a bit tired of that technique where a low undercurrent of ‘noise’ is used to create a feeling of tension. It’s often like a continuous ‘drub drub drub’ sound underneath the dialogue. Very distracting. I’m in total agreement with your thoughts about the music. At first I thought there was something wrong with the sound system, but after a few minutes I realised it was part of the production. The undercurrent of music really was annoying when I was trying to listen to the cast. Overall, I’m glad I got to see this production and got my money’s worth this evening, I just think a stripped back approach may have been better and more effective in delivering the plot. Just because you can go high tech, doesn’t mean you should. In this case less may have been more effective as in the case of Come From Away. |
|
|
|
Post by Deleted on Feb 26, 2019 23:43:50 GMT
It would be interesting to hear van Hove expand more on his musical choices and how they relate/contribute in each individual production. I found the low hum in A View from the Bridge to be appropriate underscoring for the increasing stakes for what was happening between the characters, but in other productions the music has seemed overused and a distraction as some have noted here.
|
|
1,218 posts
|
Post by nash16 on Feb 27, 2019 9:05:52 GMT
But doesn't anyone else find this type of underscoring, from van Hove especially, kind of patronising to its audience?
You should be feeling this now.
The stakes have just raised and I'm going to make sure you know this.
Whereas actually, a lot of the time, it just takes us out of the piece going "is that music/a repetitive drum beat? etc"
There's a saying that if you can hear underscoring or music, the designer hasn't done their job.
It does point to a controlling director though, wanting the audience to make sure they know what the director wants. I don't think this is Tom or PJ's fault though. They're merely following Van Hove's instructions and wants.
Van Hove's worst example of this was the video montage at the end of Network. Although I'm not sure many realised that by cheering, then booing, that they were aware how caught up they were in the system the play describes. In this way, Van Hove both wanted to give the audience a realisation, but at the same time one that was unnecessary: we'd just spent 2 hours understanding it.
His music and sound design instructions in Eve point towards this way of thinking about the audience once more. And it's just annoying.
|
|
|
|
Post by Deleted on Feb 27, 2019 9:18:32 GMT
Re: the above, yes it bugs me a bit in Van Hove's productions, but it's no different to film. However that bugs me because part of my current issue with Van Hove's recent work is that it's using film conventions on stage without really playing with them in a stage based way, which makes me think 'why not just make film' if he was playing with the combination more I might be more warm towards it.
I was thinking about this a lot at the weekend, and getting more and more irritated by it. I think in part because some shall we say devoted Gillian Anderson fans I was with saw it twice so I was exposed to their excitement over it, and got frustrated by it. Not that they aren't perfectly entitled to love it, just it made me personally think back on it and think actually, did it irritate me more than I thought. Mainly because I think as more casual theatre goers they became a bit blinded by the bells whistles and performative cleverness of it, and that annoyed me. Because actually Van Hove IS clever enough to make it clever. If that makes sense.
I would love Van Hove to go back to what he does best which is stripping things back to their core
|
|
|
|
Post by allaboutniave on Feb 27, 2019 10:20:48 GMT
I thought Gillian was excellent in this. brought a depth to the role which can easily be glossed over. Lily James- hmm. Not so much. she can handle the wet thing but I didn't really buy the flip. Loved Stanley T and Monica was the saving grace although I don't think that Rashan and her were cast well together. She just felt far too clever and astute to fall for him in the first place, when he's obviously a weak willed individual. Got so bored by the video stuff though- all very like goold's six characters but they at least went next door to Les mis!
|
|
|
|
Post by Deleted on Feb 27, 2019 13:30:00 GMT
I can't recall music/drones in All About Eve, what was used?
I remember clearly the music in A View From the Bridge (Faure Requiem?). Another memorable one was the wonderful Bowie version of Wild is the Wind at the end of Hedda Gabler (someone is now probably going to point out that it was another song completely but that's what I remember it as!)
EDIT: A quick Google suggests that it was the Nina Simone version not the Bowie one, I could have sworn it was Bowie. |
|
|
|
Post by Deleted on Feb 27, 2019 14:16:39 GMT
Because actually Van Hove IS clever enough to make it clever. If that makes sense. I would love Van Hove to go back to what he does best which is stripping things back to their core THIS. When you know someone can do it and make it amazing and it isn’t. Double disappointment. |
|
Still looking forward to it, if only so we can listen to PJ's mood music. 
