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Post by theatrefan77 on Oct 5, 2018 7:15:36 GMT
Can't wait for this. I'll be there on press night.
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Post by Lemansky on Oct 9, 2018 11:11:44 GMT
I'm seeing this on Saturday, which I didn't realise was only the 2nd night. I know the play, so it will be intriguing to see how it's staged, especially in the Bridge, as it's such a large space.
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Post by oxfordsimon on Oct 9, 2018 11:22:10 GMT
I'm seeing this on Saturday, which I didn't realise was only the 2nd night. I know the play, so it will be intriguing to see how it's staged, especially in the Bridge, as it's such a large space. I am intrigued as to how you know the play - as this is the world premiere...! |
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Post by Lemansky on Oct 9, 2018 11:37:08 GMT
I'm seeing this on Saturday, which I didn't realise was only the 2nd night. I know the play, so it will be intriguing to see how it's staged, especially in the Bridge, as it's such a large space. I am intrigued as to how you know the play - as this is the world premiere...! Ahh work related! I'm sure it's changed a fair bit since I read it though, I doubt that the main parts have been altered much. |
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Post by crowblack on Oct 12, 2018 23:40:15 GMT
Um. Well. I think I feel the same way about this as I do about the later work of Terry Gilliam, if you see what I mean.... more when i’m back at my keyboard.
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Post by jadnoop on Oct 13, 2018 12:27:53 GMT
Um. Well. I think I feel the same way about this as I do about the later work of Terry Gilliam, if you see what I mean.... more when i’m back at my keyboard. The early points on twitter are fairly mixed, but this comment is definitely intriguing. From the blurb on the website, if they've managed to get Gilliam's visual aesthetic and tone then it seems like it could be a great fit. Edit: just noticed that you used the word 'later'. Hmm, still enjoy his work, but he's definitely past his creative peak. Slightly more nervous now. |
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Post by Deleted on Oct 13, 2018 13:21:32 GMT
Um. Well. I think I feel the same way about this as I do about the later work of Terry Gilliam, if you see what I mean.... more when i’m back at my keyboard. The early points on twitter are fairly mixed, but this comment is definitely intriguing. From the blurb on the website, if they've managed to get Gilliam's visual aesthetic and tone then it seems like it could be a great fit. Edit: just noticed that you used the word 'later'. Hmm, still enjoy his work, but he's definitely past his creative peak. Slightly more nervous now. ‘Dark’, ‘Weird’, ‘Mental’, potentially offensive. The sort of comments that are more likely to have me looking forward to it, to be honest. |
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Post by Deleted on Oct 13, 2018 13:57:49 GMT
Potentially offensive McDonagh is usually the best McDonagh.
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Post by sherriebythesea on Oct 13, 2018 15:28:53 GMT
‘Dark’, ‘Weird’, ‘Mental’, potentially offensive. The sort of comments that are more likely to have me looking forward to it, to be honest. Sounds even more interesting........ |
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Post by crowblack on Oct 13, 2018 23:03:49 GMT
Potentially offensive McDonagh I presume that's what he's aiming for (because I can't think of any other rationale for it) - unfortunately this more often comes across like an 80s Blackadder sketch/panto rather than The Producers. An Octoroon (crucially, a piece by a black writer), and even the Dickens episode of Quacks, did this sort of thing so much better. |
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Post by smallperson on Oct 13, 2018 23:42:36 GMT
Well - Family Smallperson had a really good time at this tonight! I have a long history of enjoying McDonagh's theatre writing; the children know him from film. We were all engaged from the moment that wonderful gravelly voice that could only be Tom Waits started to tell a story about a black pygmy from the Congo trapped in a mahogany box who was writing stories. Jim Broadbent gets better and better as HCA (including a well-documented stay (over-stay) with Charles Dickens in London) and then there was lots of McDonagh weirdness with red men, puppets, a haunted accordion and much much more! It had a lot of the dark feel that Hangmen created but this has a resonance of The Pillowman too. It isn't a tour de force in theatrical terms but it is a night to remember!
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Post by Stephen on Oct 14, 2018 0:37:16 GMT
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Post by smallperson on Oct 14, 2018 15:04:54 GMT
Well - yes! There is one scene towards the end with rifles, shotguns and prolonged fire from a hidden machine gun (not saying where it is hidden - hope that is unspoilery?). It is short but it is definitely loud!
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Post by louisa1994 on Oct 15, 2018 13:58:13 GMT
Hi all!
Can anyone who has seen this yet advise on whether there are racially sensitive issues/themes that arise in this play? I'm seeing it tonight and the mention of The Octoroon a few comments above has panicked me slightly as that play was particularly harrowing and difficult to watch.
Thanks!
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Post by peelee on Oct 15, 2018 14:27:57 GMT
What'll you do if there are? You wouldn't give up your ticket, would you? Unless anyone here can answer your question, then go along expecting the worst. That way you'll be prepared. And if it isn't as bad as you feared, then perhaps you may even be pleasantly surprised.
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Post by crowblack on Oct 15, 2018 14:44:41 GMT
racially sensitive issues/themes that arise in this play? Yes, and they're generally handled in a comic, flippant way in a work by a white able-bodied male London writer, which is what I think some (including me) will have issues with. And I'm sorry if that makes me sound po-faced and joyless because I'm not - I love dark comedy but I think this sort of thing has to be brilliant and come from some sort of place of understanding and experience for the writer to 'earn' it |
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Post by crowblack on Oct 15, 2018 14:51:33 GMT
Oh sod - I don't know what happened with everything in the spoiler brackets - I had described the plot. I'd say go along, see what you think - I presume he's written it to be provocative and it'll be interesting to see what people make of it.
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Post by Lemansky on Oct 15, 2018 15:17:43 GMT
Yes I'm intrigued to see what people make of it. It definitely has the potential to make people very offended. I didn't love it, although I did want to as I normally love McDonagh's work. It actually was better to read the script (although admittidley that was a fair while ago now.) It seemed to make more sense when I read it. There was a good response from the audience at the end when I saw it, although quite a lot of uncomfortable silences or awkward laughter throughout the actual play. Stephen The gunfire did seem to go on for a fairly long time,to me, perhaps due to the type of gun that was used. |
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Post by drmaplewood on Oct 15, 2018 15:21:42 GMT
racially sensitive issues/themes that arise in this play? Yes, and they're generally handled in a comic, flippant way in a work by a white able-bodied male London writer, which is what I think some (including me) will have issues with. And I'm sorry if that makes me sound po-faced and joyless because I'm not - I love dark comedy but I think this sort of thing has to be brilliant and come from some sort of place of understanding and experience for the writer to 'earn' it Oh dear, this is putting me off massively. After the way he handled race (badly) in the dreadful Three Billboards I am wondering if I should bother. |
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Post by crowblack on Oct 15, 2018 15:43:23 GMT
the dreadful Three Billboards I enjoyed a lot of Three Billboards but the issues I had with that (e.g. a domestic violence scene that is suddenly played for laughs) came across worse here because at least with Three Billboards the characters were grounded with a greater three-dimensionality. Here they're cartoonish, in a 1970s/80s sitcom way. |
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Post by theatrelover123 on Oct 15, 2018 15:59:54 GMT
Does anybody know what the view is like from the front row for this production? Or how high the stage is? I have front row centre tickets booked for a few weeks time and haven't heard anything from the Bridge BO so I am hoping there are no issues like there were with Allelujah (other than feeling close  ) |
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Post by crowblack on Oct 15, 2018 17:12:48 GMT
no issues like there were with Allelujah I was on row E, flip up seat which was fine, but the stage does look similar to Allelujah, though I was row E for that too so I don't know what the issues were. Most of the action takes place near the front of the stage though, so you should be Ok. When I went to the front afterwards to try to take a pic of the set (not allowed) the legroom was good and I don't think it was as high as the Pinter but tbh I wasn't really thinking about it - hopefully someone tonight can check it out for you. |
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Post by wiggymess on Oct 15, 2018 18:40:14 GMT
racially sensitive issues/themes that arise in this play? Yes, and they're generally handled in a comic, flippant way in a work by a white able-bodied male London writer, which is what I think some (including me) will have issues with. And I'm sorry if that makes me sound po-faced and joyless because I'm not - I love dark comedy but I think this sort of thing has to be brilliant and come from some sort of place of understanding and experience for the writer to 'earn' it "London writer" is a bit off the mark... I'll not bother with this. I also had reservations over some parts of 3 Billboards (although after a few viewings I think some of the criticism is off the mark) |
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Post by crowblack on Oct 15, 2018 19:27:35 GMT
"London writer" is a bit off the mark... Born and brought up in London, lives in London = London writer. |
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Post by Rory on Oct 15, 2018 19:58:11 GMT
Blimey, someone on Twitter has referred to this as disgusting, vile filth!
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