371 posts
|
Post by popcultureboy on Feb 28, 2018 0:07:38 GMT
I'm seeing this at the end of March, I can't wait. The production shots look VERY ATMOSPHERIC and I would crawl over broken glass for Patsy Ferran any day before we even start. |
|
406 posts
|
Post by MrBunbury on Feb 28, 2018 10:18:41 GMT
I saw it last night. The set is very original (although I am not sure what is the actual meaning) and the two leads are very good. Alma's part seems to be written for Patsy Ferran who is great as always. "Summer and smoke" is one of my favourite plays and I had seen Frecknall's previous production at the Southwark Playhouse: however, I must admit that this new production did not convince me as much as the previous one. I think it is just down to director's choices. The final scene is less dramatic than I remembered (a friend of mine did not understand what was going on), the doubling of roles for some actors can be confusing, and the play is only loosely set in a specific period of time, which for me takes something away from the trajectory that Alma makes within a small-minded community.
|
|
|
|
Post by alexandra on Mar 1, 2018 11:34:09 GMT
Has anyone else seen the play, please?
|
|
406 posts
|
Post by MrBunbury on Mar 1, 2018 11:36:26 GMT
Has anyone else seen the play, please? I commented on it at page 2. Did you like it? |
|
|
|
Post by alexandra on Mar 1, 2018 11:37:59 GMT
I know, hence "else" - I haven't seen it yet but have tickets, so I'm interested in views. Thank you very much for yours.
|
|
4,177 posts
|
Post by HereForTheatre on Mar 2, 2018 9:06:24 GMT
**Several posts have been edited or removed from this thread after a complaint. Please try and remain on the subject of the play itself.**
|
|
1,485 posts
|
Post by Steve on Mar 5, 2018 12:43:13 GMT
Saw the Saturday matinee. I loved this. Less sense, more sensibility, powerfully directed (verging on over-directed) this claustrophic, insightful take on William's play about body and mind is set almost entirely in Alma's mind, with an excellent atypical naturalistic performance from Patsy Ferran. Some spoilers follow. . . To me, this felt like a diametrically opposite take on the play, about the horror of mind and body disconnection, to the West End Rosamund Pike version. That version was all body, this version is all mind. Rebecca Frecknall sets much of the play squarely in Alma's head, by having her under a spotlight, addressing her dialogue into the ether, while characters she is talking to lurk behind her in shadow. The effect is discombobulating, and will be irritating to some, but I found the approach, which echoes the thematic content of Tennessee Williams play, by explicitly dividing mind from body, powerfully effective at suggesting just how much of our worlds occur in our own heads, rather than in an objective reality. Patsy Ferran's Alma begins with a scream of panic, suggesting the pain and fragility of her divided consciousness, whereby she is all soul, and no body, and her Alma claustrophically continues in a level of fear induced internal panic for much of the play. The lack of naturalism in presentation extends to the lack of a set, and the shadowy lighting, with the Almeida stage being more lonely alienated cave, of the mind, than at any time since Simon Stephen's "Carmen Disruption." Until now, I have most appreciated Ferran for her incredible physical and verbal comic dexterity,with her Speech and Debate, My Mum's a Tw*t, As You Like it and Blithe Spirit appearances standing out in my mind as tour de forces of comedy acting. But here, her comedy bones are harnessed, and Ferran's Alma, while having traits, of hysteria and nervousness, that some might consider funny, comes across as deeply empathetic, and desperately trapped. Alma's love interest, Matthew Needham's dark and restrained John Buchanan is considerably more threatening than Chris Carmack's more overtly flirty and sexual West End version, as befits a production squarely centred in Alma's psyche, reflecting her fears. There is fantastic support from Nancy Crane, as the epitomy of the unrestrained, nightmarishly sensual, ice-cream-licking, person that Alma fears, and from Anjana Vasan (who I will always love for being Hermia in Emma Rice's debut Globe prodction), who sings an exquisite version of Portishead's "Glory Box," as good as the version I heard from Portishead themselves, when I saw them in concert. All in all, the extreme direction of this show will make it a marmite production, that many will reject for it's rejection of naturalism (I myself felt constrained at points), but which others will love for delving deeply into Williams' thematic concerns, presenting them from the inside out. 4 stars.  |
|
3,535 posts
|
Post by Rory on Mar 8, 2018 8:56:40 GMT
The early reviews for this are superb. Looks like the Almeida has another big hit on its hands.
|
|
899 posts
|
Post by bordeaux on Mar 8, 2018 12:34:07 GMT
Still plenty of seats available. Just got a couple for 31st March.
|
|
1,861 posts
|
Post by NeilVHughes on Mar 8, 2018 12:54:46 GMT
4to5 Star reviews all round.
Pleased to have booked already, looks like a good alternative for all the people who returned their Macbeth Tickets.
|
|
3,040 posts
|
Post by crowblack on Mar 8, 2018 14:52:24 GMT
I booked a while ago, luckily - had to reschedule from a preview to the last day because of the weather so I won't look through your comments, but I think Patsy Ferran's already one of those actors who make anything worth seeing!
I've just looked at the website and many dates are now sold out - I wonder if it will transfer?
|
|
3,535 posts
|
Post by Rory on Mar 8, 2018 17:51:37 GMT
I booked a while ago, luckily - had to reschedule from a preview to the last day because of the weather so I won't look through your comments, but I think Patsy Ferran's already one of those actors who make anything worth seeing! I've just looked at the website and many dates are now sold out - I wonder if it will transfer? I'd be stunned if it didn't transfer given the number of 5* raves and the sellout which will probably occur imminently. Mind you, I think I said that about Albion too.... |
|
3,535 posts
|
Post by Rory on Mar 8, 2018 17:53:40 GMT
I would love if the Almeida would consider some further live cinema relays after their foray a few years back with Ralph Fiennes. So much good stuff there.
|
|
2,743 posts
|
Post by n1david on Mar 8, 2018 19:00:37 GMT
I would love if the Almeida would consider some further live cinema relays after their foray a few years back with Ralph Fiennes. So much good stuff there. I think the main problem is that the Almeida doesn’t have easy facilities for this. Last time they did it the whole street was closed for close to a week for the satellite truck setup, so it’s incredibly disruptive to local residents and businesses. They don’t have the free space around the theatre that, for example the NT does. It would be less disruptive to film without the live relays and later broadcast, but that’s not as immediate. |
|
406 posts
|
Post by MrBunbury on Mar 8, 2018 19:51:43 GMT
At the cost of sounding schizophrenic given my previous misgivings on this production, I am very happy to see it so well-received. And reading the reviews, I understood the meaning of the set and some details I had not actually seen (kind of worrying since I was in the stalls...). I hope Patsy Ferran will be remembered when award season comes.
|
|
|
|
Post by Deleted on Mar 8, 2018 21:19:54 GMT
Saw the production last week, and am thrilled to see it has been given such a warm and positive response - including several absolute raves; four and five stars across the board!
Other - that is - for a rather flat 3 star review from Fiona Mountford in the Evening Standard.
It struck me as a little bit surprising that Mountford didn't go for it in a big way; she is generally one of the more supportive voices for female directors, and for Frecknall this is a big opportunity (which general consensus would suggest she has taken with both hands.)
I wonder if Mountford's tepid response to the production might have had anything to do with the fact that her interview for the Evening Standard with Patsy Ferran got spiked by the Almeida in favour of a more appealing feature on Patsy that ran in the Sunday Times Culture a couple of Sundays back? Who can say for sure - perhaps she just didn't like the Almeida production - but I've heard a few stories that indicate that FM has been known to not hold back when bearing grudges previously.
As far as I am concerned the design, the sound, the music, the direction, the performances - everything aligned very cleverly and neatly, and Patsy Ferran and Matthew Needham were particularly wonderful.
|
|
371 posts
|
Post by popcultureboy on Mar 8, 2018 23:40:33 GMT
Still plenty of seats available. Just got a couple for 31st March. Not any more. Entire run now sold out. Good for them. |
|
816 posts
|
Post by stefy69 on Mar 9, 2018 6:56:53 GMT
Still plenty of seats available. Just got a couple for 31st March. Not any more. Entire run now sold out. Good for them. ,,and judging by the reviews I would think a WE transfer almost certainly on the cards. |
|
371 posts
|
Post by popcultureboy on Mar 9, 2018 7:54:32 GMT
I would imagine that's being explored, but it might be stymied by the lack of an available house. The Gielgud, Wyndhams, Coward, Duke of York's, Pinter, Theatre Royal Haymarket, Apollo, Duchess, Lyric, Vaudeville, Ambassadors, none are immediately available.
WAIT.
Trafalgar Studios 1 isn't programmed after Grinning Man closes on 14th April, which is a week after Summer & Smoke closes at the Almeida. I wonder........
|
|
3,535 posts
|
Post by Rory on Mar 9, 2018 8:41:15 GMT
I would imagine that's being explored, but it might be stymied by the lack of an available house. The Gielgud, Wyndhams, Coward, Duke of York's, Pinter, Theatre Royal Haymarket, Apollo, Duchess, Lyric, Vaudeville, Ambassadors, none are immediately available. WAIT. Trafalgar Studios 1 isn't programmed after Grinning Man closes on 14th April, which is a week after Summer & Smoke closes at the Almeida. I wonder........ Very possible but I would imagine that Summer and Smoke would face stiff competition for a West End venue from The York Realist which will no doubt also be looking to transfer (and if the Donmar isn't considering one, it really should be). It's true that very few houses are now available. Apart from Trafalgar Studios on 14th April (do we know if The Grinning Man is definitely closing then and do we know if Panter and Squire from Trafalgar Entertainment are receiving external shows?) the next scheduled free theatre is the Ambassadors from 2nd June. And there was also Baz Bamigboye's piece a few weeks ago that Adam Speers from ATG was looking to transfer Caroline, or Change from Hampstead. Where could that go now? The Piccadilly in late July if Strictly Ballroom doesn't extend further (but I'd say it will)? Or could it get the Trafalgar Studios? I had presumed that Caroline would go to the Pinter but Consent has now nabbed that slot. All very interesting. |
|
38 posts
|
Post by quine on Mar 9, 2018 21:51:22 GMT
I saw this on Tuesday and was blown away by Patsy Ferran. I felt so lucky to see such an exquisite piece of theatre. It reaffirmed my love of Tennessee Williams and marked Rebecca Frecknall as a director to watch. Forbes Masson's vocal performance was also a revelation to me. Oh this will be hard to beat and Patsy Ferran deserves best actress nominations by the bucket.
|
|
3,306 posts
|
Post by david on Mar 9, 2018 23:30:11 GMT
Just got back from seeing this tonight. Wow! A great piece of theatre. It’s simple staging allowed the text to shine and with great performances by all the cast. Not a weak link in any of the performances. Surely this has to have a life outside the current run.
Totally agree with quine’s comments about Forbes Masson’s vocals. I definitely was not expecting that! I was also very impressed with Seb Carrington’s piano playing throughout the play.
|
|
181 posts
|
Post by caa on Mar 14, 2018 20:40:22 GMT
I tend to avoid praising actors if I can help it as theatre is a collective art form, but seeing Patsy Ferran last night, it felt like a privilege to see her perform, even the toes on her feet were in tune with her portrayal, a wonder to behold.
|
|
2,389 posts
|
Post by peggs on Mar 17, 2018 18:01:15 GMT
Oh @theatremonkey as I was leaving today I walked past Patsy ferran just as she was saying 'someone asked why are their extra pianos?' and I didn't pause to find out if she supplied the answer 🤔
Didn't know the play and don't think of myself as TW fan and reading this thread am now going ohhhh a bit but that was good. Beautiful music, lighting, intriquing set and Patsy Ferran is amazing and well supported all round.
Now heading out of London and noticing alarming amounts of snow, prob just as well didn't win anything tix lotteries for this evening.
|
|
|
|
Post by Deleted on Mar 17, 2018 20:40:26 GMT
You know
When the actors are barefoot
And there is no set
A production is rammed so far up its own arse
Arrogance has taken over
|
|
