|
|
Post by Deleted on Oct 25, 2018 9:28:24 GMT
Daily mail highly negative
Evening standard 2*
Metro 2*
Arts desk 2*
The stage 2*
WOS 2*
Independent 3*
Telegraph 3*
Time Out 3*
Times 4*
More importantly the word from the average theatre goer is overwhelming negative
|
|
2,481 posts
|
Post by zahidf on Oct 25, 2018 9:59:29 GMT
Daily mail highly negative Evening standard 2* Metro 2* Arts desk 2* The stage 2* WOS 2* Independent 3* Telegraph 3* Time Out 3* Times 4* More importantly the word from the average theatre goer is overwhelming negative Guardian 4 stars |
|
|
|
Post by Deleted on Oct 25, 2018 10:23:52 GMT
Thanks but I’m still not able to do it. Any other ideas? Otherwise, I guess I will just have to ignore it myself. I'm... pretty sure that the suggestion to "just not click on the thread" was indeed someone saying the easiest solution would be for you to just ignore it yourself.  Thank you! I misread the instruction. Lol! |
|
899 posts
|
Post by bordeaux on Oct 25, 2018 10:44:36 GMT
Fascinatingly, four stars from Billington, but there may be a clue in this bit of the review: As Andersen explains to an intrusive journalist, “I change the bits I don’t like and then erase all the rest from history. I’m more like a German theatre director. An anti-director's theatre remark may be just what he needed after The Wild Duck.
|
|
|
|
Post by Deleted on Oct 25, 2018 11:30:50 GMT
I agree with Steve, I enjoyed it a lot. It took me 15 minutes maybe to really tune in, but after that, for the most part I was entertained. There's a lot more than you think going on - which may hit after the show. It's very much on trend at the moment, about the silencing of all but the white middle aged male voice, done in a way which for a change doesn't feel preachy but full of satire instead. And both Johnetta Eula’Mae Ackles and Jim Broadbent are excellent - Ackles in particular. I thought lots of her dialogue Was mumbled or inaudible Due to speech impediment |
|
|
|
Post by Deleted on Oct 25, 2018 11:35:05 GMT
Perhaps P was sat in the cheap seats at the back and forgot his ear trumpet? |
|
|
|
Post by Deleted on Oct 25, 2018 12:25:16 GMT
I'm beginning to think it's Opposite Thursday, once you combine this with Parsley's claim to never have a problem hearing a Katie Mitchell production... |
|
|
|
Post by Deleted on Oct 25, 2018 12:26:20 GMT
Perhaps P was sat in the cheap seats at the back and forgot his ear trumpet? Centre row A stalls my dear |
|
1,307 posts
|
Post by londonmzfitz on Oct 25, 2018 14:27:34 GMT
Financial Times review from Ian Shuttleworth
Martin McDonagh’s A Very Very Very Dark Matter is a magnificent wild card of a show (and) Jim Broadbent and Phil Daniels star in this fabulistic new drama at London’s Bridge Theatre
And 4 stars ....
|
|
1,970 posts
|
Post by sf on Oct 25, 2018 14:38:31 GMT
I agree with Steve , I enjoyed it a lot. It took me 15 minutes maybe to really tune in, but after that, for the most part I was entertained. There's a lot more than you think going on - which may hit after the show. It's very much on trend at the moment, about the silencing of all but the white middle aged male voice, done in a way which for a change doesn't feel preachy but full of satire instead. And both Johnetta Eula’Mae Ackles and Jim Broadbent are excellent - Ackles in particular.
I enjoyed it (yesterday afternoon) for the most part, and some of it is undeniably very funny.
Whether I thought it was good is a different question. McDonagh's script is neither as clever nor as edgy as he thinks it is, and the overall impression I left with was of a stack of ideas circling around a point but never quite landing on it. There's also some very questionable writing surrounding the intersections between racism and colonialist attitudes; I can see where he thinks he's going, but he doesn't get there. It felt like I was watching a rushed first draft; too often, he goes for (and, certainly, gets) easy laughs (sweary Charles Dickens! Sweary Mrs. Dickens!), but behind the easy laughs and the grotesquerie there's a much more interesting, much darker, much edgier play struggling to get out. It's rather like being promised Tramadol and then getting an aspirin.
It's an intriguing piece of theatre and I'm glad I saw it - but I'm also glad I only paid £15.
|
|
|
|
Post by Mr Snow on Oct 25, 2018 17:48:19 GMT
It's very much on trend at the moment, about the silencing of all but the white middle aged male voice, done in a way which for a change doesn't feel preachy but full of satire instead. Spoiler again Can’t for the life of me see how the white middle aged class voice is shown as the only one that counts here? I’ve be been wrong before and will be again but I would be curious how you came to that conclusion when my own view is that he may be trying to go against the beliefs of the moment? |
|
294 posts
|
Post by dani on Oct 26, 2018 8:16:24 GMT
I saw this last night. A lot has already been said on the subject, but I think this is a pretty terrible play. The idea that it travels deep into the abyss of the imagination is very strange to me. It seemed completely without nuance and I found perhaps three lines funny; the one about the German theatre director was the only time I actually laughed. It didn't offend me, though I can see it has the potential to cause great offence. I just found it tedious.
|
|
524 posts
|
Post by callum on Oct 26, 2018 20:02:57 GMT
Says a lot when even Baz hates it!
|
|
3,541 posts
Member is Online
|
Post by Rory on Oct 26, 2018 21:21:24 GMT
Says a lot when even Baz hates it! What has Baz said? |
|
524 posts
|
Post by callum on Oct 27, 2018 11:22:35 GMT
He liked a tweet that said it was the worst play of 2018... plus it's got enough prestige associated with it to be the kind of thing where, if he liked it, he would let everyone know about it
|
|
|
|
Post by Deleted on Oct 27, 2018 12:02:48 GMT
This was envisioned as one of the highlights for my November visit to London, but now I am contemplating ditching my ticket altogether. Decisions, decisions.
|
|
3,541 posts
Member is Online
|
Post by Rory on Oct 27, 2018 12:11:02 GMT
This was envisioned as one of the highlights for my November visit to London, but now I am contemplating ditching my ticket altogether. Decisions, decisions. I'm the same. I booked it last year when it was first announced and and planned a whole trip around it. Now wondering whether to go to see The Wild Duck instead. Not sure. |
|
4,962 posts
|
Post by Someone in a tree on Oct 27, 2018 12:56:50 GMT
I’m sure the Theatre do credit notes.
Life is too short for a bad short one act play !
|
|
|
|
Post by Deleted on Oct 27, 2018 13:08:13 GMT
Yes, they will give a credit note for returned tickets, £2 fee I think
|
|
2,056 posts
|
Post by Marwood on Oct 27, 2018 18:31:54 GMT
Tonight’s performance due to start in 15 minutes or so, stood in the lobby I’m struck by the almost complete absence of anyone who isn’t white (I’m talking one person out of a few hundred)- it seems like a deleted scene from BlacKKKlansman and they’re all going to pop their hoods on any minute now before they go in...
|
|
923 posts
|
Post by Snciole on Oct 27, 2018 19:28:23 GMT
Tonight’s performance due to start in 15 minutes or so, stood in the lobby I’m struck by the almost complete absence of anyone who isn’t white (I’m talking one person out of a few hundred)- it seems like a deleted scene from BlacKKKlansman and they’re all going to pop their hoods on any minute now before they go in... The Bridge's productions haven't brought in more diverse audiences, I think it is a real shame they haven't embraced the local community more like the Young Vic especially with Julius Caesar and I don't speak for all BME people but no way would I be going to this if I wasn't offered a free pair of tickets and because my (white) partner is interested, I am not attending until Monday but the casting of black actors is not enough to get racially diverse audiences in, we need diverse stories by and about BME people. |
|
1,218 posts
|
Post by nash16 on Oct 27, 2018 19:33:30 GMT
Tonight’s performance due to start in 15 minutes or so, stood in the lobby I’m struck by the almost complete absence of anyone who isn’t white (I’m talking one person out of a few hundred)- it seems like a deleted scene from BlacKKKlansman and they’re all going to pop their hoods on any minute now before they go in... If you've got a side Gallery seat, during the boring bits, have a prolonged look down at the centre Stalls seats (the top price ones). Observe the Bridge core audience (as you've said, a sea of white) laughing their heads off. It's v BlacKKKlansman, especially when you note what they're laughing at AND the lack of laughter in the galleries/cheaper seats. |
|
|
|
Post by asfound on Oct 27, 2018 20:00:56 GMT
Tonight’s performance due to start in 15 minutes or so, stood in the lobby I’m struck by the almost complete absence of anyone who isn’t white (I’m talking one person out of a few hundred)- it seems like a deleted scene from BlacKKKlansman and they’re all going to pop their hoods on any minute now before they go in... The Bridge's productions haven't brought in more diverse audiences, I think it is a real shame they haven't embraced the local community more like the Young Vic especially with Julius Caesar and I don't speak for all BME people but no way would I be going to this if I wasn't offered a free pair of tickets and because my (white) partner is interested, I am not attending until Monday but the casting of black actors is not enough to get racially diverse audiences in, we need diverse stories by and about BME people. Am I the only black person that really doesn't give a sh*t about this kind of thing? I also feel kind of weird that people are scanning the foyer head-counting me. I mean I just acknowledge that theatre is a predominantly middle class pursuit in a predominantly white country. Just as the jazz nights I go to in South London are more of a black thing. Besides, there are so many stories by and about BAME people, way more diversity than anywhere else in the world. I feel far more conspicuous when random people smile and nod patronisingly at me for no apparent reason. Reminds me of the time me and some friends went to some open house art studio event and nearly every one of the white, middle aged artists made a beeline for me and invited me to various things while ignoring my white friends. I understand that race and ethnicity fixation is a constant worry amongst the chattering classes but I'd rather just be treated as anybody else, ta. |
|
923 posts
|
Post by Snciole on Oct 27, 2018 20:17:52 GMT
I would care less if theatres didn't go to so much effort to appear diverse rather than be diverse.
I agree with you in that music and other arts industries don't have this problem-South London clubs like the Hideaway in Streatham aren't desperately seeking white audiences and rock/indies bands aren't desperately seeking BME audiences. Did the Tate hope to attract more BME audiences with its recent African American artists exhibition? I would rather theatre admitted that it is always going to be primarily white and middle class.
I think I get annoyed because theatre claims to be spending so much time on making itself accessible not only to BME audiences but also to disabled and other minorities. The problem is even if they go to trouble of initial schemes (as a blogger I see a lot of sites calling for BME writers-why?) What is actually being done? Many fringe theatres are still inaccessible to those with physical disabilities, relax performances are a treat for those aren't neurotypical and let's not even get started on the lack of disabled artists on stage. The issue is that, as you say, we aren't being treated like white audiences, we are a statistic, a sideshow to the typical audience members. It shouldn't be like that and the reaction you get is why theatres and other arts organisations like the BFI struggle to appear more diverse. We often don't feel welcome in the case of art houses too welcome (so creepy). I don't have the answer to make the theatre more diverse except make it less expensive from training to audience tickets.
I don't agree there are "so many" stories by BME artists. We will always be in minority but the audiences at shows like Nine Night over shows such as I'm Not Running shows there is a demand, despite the increased supply, to see stories by/about BME people. Theatre is capable of being for everyone, not just the majority. It shouldn't be a novelty nor should it only be staged to get Arts Council money.
|
|
1,970 posts
|
Post by sf on Oct 27, 2018 20:36:47 GMT
Tonight’s performance due to start in 15 minutes or so, stood in the lobby I’m struck by the almost complete absence of anyone who isn’t white (I’m talking one person out of a few hundred)- it seems like a deleted scene from BlacKKKlansman and they’re all going to pop their hoods on any minute now before they go in... The Bridge's productions haven't brought in more diverse audiences, I think it is a real shame they haven't embraced the local community more like the Young Vic especially with Julius Caesar and I don't speak for all BME people but no way would I be going to this if I wasn't offered a free pair of tickets and because my (white) partner is interested, I am not attending until Monday but the casting of black actors is not enough to get racially diverse audiences in, we need diverse stories by and about BME people.
I saw 'A Very Very Very Dark Matter' on Wednesday afternoon, and the Young Vic's 'Twelfth Night' on Wednesday evening. The difference between the two audiences was very very very obvious.
|
|
