1,217 posts
|
Post by nash16 on Jan 3, 2018 20:12:32 GMT
Rare outing for the Fletcher/Shakespeare updating of Chaucer in a half-season run.
|
|
2,389 posts
|
Post by peggs on Jan 3, 2018 21:21:22 GMT
Jolly good, another one to tick off the list then.
|
|
|
|
Post by Deleted on Jan 3, 2018 22:11:11 GMT
Oooh, very tempted despite my dislike of the Globe - one I don't think I've seen, unless I'm failing to connect title with storyline.
|
|
2,480 posts
|
Post by zahidf on Jan 3, 2018 23:01:01 GMT
Ill see this one
|
|
|
|
Post by Deleted on Jan 3, 2018 23:11:58 GMT
Saw it at the RSC last January, not as poor as its reputation but needs a creative director.
|
|
|
|
Post by Deleted on Jan 4, 2018 13:37:40 GMT
Directed by Barrie Rutter so in very safe hands.
|
|
1,245 posts
|
Post by joem on Jan 6, 2018 0:07:52 GMT
I love a nice bit of Fletcher. Saw this years ago at the Globe and found it pretty tolerable.
|
|
5,690 posts
|
Post by lynette on Jan 8, 2018 14:33:51 GMT
Saw it at the RSC last January, not as poor as its reputation but needs a creative director. It was a good come back for this play. I agree, creative director needed. And a couple of good lead actors who look similar..... ha ha No, can be different I suppose. |
|
|
|
Post by Jan on Jan 8, 2018 14:50:51 GMT
Directed by Barrie Rutter so in very safe hands. Rutter can’t direct for toffee as far as I am concerned. I was going to add he can’t act either but that’s not strictly true - he can’t act in comedy. No matter how many times he plays Falstaff he always comes across as very cold on stage, no link or empathy with the audience. At least here we’re spared the ultimate nadir which is when he directs something he’s in himself. Seen the play a couple of times. A very good RSC one years ago with Gerard Murphy and Hugh Quarshie and again more recently at the White Bear. It can work if done well. |
|
|
|
Post by Deleted on Jan 8, 2018 17:11:47 GMT
I suspect that Michelle Terry has inherited the Barrie Rutter and Blanche MacIntyre productions from Emma Rice's plans for 2018, not that it really matters whether she has or not.
Clearly the first two productions, by The Globe Ensemble, weren't planned by anyone.
|
|
1,119 posts
|
Post by martin1965 on Jan 8, 2018 20:45:42 GMT
Directed by Barrie Rutter so in very safe hands. Rutter can’t direct for toffee as far as I am concerned. I was going to add he can’t act either but that’s not strictly true - he can’t act in comedy. No matter how many times he plays Falstaff he always comes across as very cold on stage, no link or empathy with the audience. At least here we’re spared the ultimate nadir which is when he directs something he’s in himself. Seen the play a couple of times. A very good RSC one years ago with Gerard Murphy and Hugh Quarshie and again more recently at the White Bear. It can work if done well. Have to agree JB, he was a v poor Lear recently. I am however going to the adaption of Aurung-Zeb in the AWP but only because it is such a rare outing. |
|
5,690 posts
|
Post by lynette on Jan 8, 2018 21:39:02 GMT
Blanche MacIntyre is ok from what I have seen. But I can’t take another Bear. 😂
|
|
|
|
Post by oxfordsimon on Jan 8, 2018 21:57:27 GMT
I have only seen one of Rutter's productions - his version of Medea. When he had his title character say 'Oh just f*** off Jason', I rather gave up on his direction. I know the translation was by Tom Paulin - but any director with a real sense of drama and the theatre would know that that line would just fail with a modern audience. And it utterly did. The last thing you need in a production of Medea is the audience giggling at the title character.
Ok, that is only one outing - but enough for me to be cautious about seeing any of work in the future - particularly with play as difficult as TNK.
|
|
1,064 posts
|
Post by bellboard27 on May 29, 2018 17:58:31 GMT
Well, rather than shared light at the Globe, this afternoon it was shared lightning!
The heavens had opened long before the show and it kept pouring until well after the interval. Not just that, but there was a lot of lightning (with the forks displaying above the theatre) and thunder that went on and on. The rain pouring onto the concrete floor meant that the actors (or some of them) were not easy to hear, although eventually I got my ear in. Quite a few parts of the text worked well with the weather – some actors making better reference to it than others. Some paused for the thunder, others ploughed on (but were drowned out).
I was in the middle gallery, so was nice and dry, but I felt really sorry for those in the yard. Most huddled to the stage edge or along the lower gallery wall, where roof overhangs provided some protection. A few just stood the whole time in the rain. The place was far from full. The yard was particularly empty (I suppose many had decided against it!) and the upper gallery had hardly anyone in it. The Globe could have easily put all the yard patrons in the upper gallery with seats to spare, but they didn’t. I know they don’t allow yard patrons to take spare seats, but the conditions were horrendous.
As to the production, I quite enjoyed it. The humour increased as it went on and one the rain eased and the dialogue became clearer, it grew on me a lot.
It’s strange to say, but while at the beginning I was cursing the conditions, after a while I realised that it had created a whole new atmosphere that was totally different to anything else I had seen at the Globe.
Running time was 2 hours 20 including the interval.
|
|
5,690 posts
|
Post by lynette on May 29, 2018 19:33:36 GMT
'Bout time they sorted out that floor. Should be porous nut casing and stuff.
|
|
2,389 posts
|
Post by peggs on May 29, 2018 20:34:34 GMT
'Bout time they sorted out that floor. Should be porous nut casing and stuff. It does rather hold the water, was there some years back in a thunder storm and was so wet didn't realise for some time that my feet and therefore my bag and phone were somewhat under water. Due there at the weekend, hopefully it will have stopped raining by then, just flooding where I am (though fortunately currently just roads not houses). |
|
2,389 posts
|
Post by peggs on Jun 2, 2018 16:28:34 GMT
Enjoyed This, this afternoon, if a bit baffled for first ten mins or so having not seen it before. Good groundlings queue chats, including some returnees in the post Emma Rice era who seemed very much to just want to return to traditional practise and not a woman in sight (on stage that Is) and therefore most dubious as to why you'd gender swap or even why a woman would want to play a male role, I suggested there were a lot more of them and some great roles so why wouldn't you want to play them but cut no ice.
I swear the stage is higher than when I first started going, I can't have shrunk that much can I?!
Limited audience uptake in final dancing, disappointing, I do like a dance in the anonymity of the theatre.
|
|
3,558 posts
|
Post by showgirl on Jun 3, 2018 14:43:44 GMT
I see that in the Sam Wanamaker Playhouse thread, xanderl has quoted Michelle Terry's statement that the prices for that venue needed adjustment. But how about the Globe itself: a £2.50 booking fee, even if you're booking a single ticket at the lowest rate, and no concessions except for young people. I called in person yesterday to check but it seems that if I want to sit, be under cover and have an unrestricted view, I am looking at £40+ (plus booking fee) - and that's for a midweek matinee! At those prices they can forget my business.
|
|
137 posts
|
Post by jason71 on Jun 3, 2018 16:44:06 GMT
They do concessions for disabled people. They also waive the booking fee for disabled people
|
|
3,558 posts
|
Post by showgirl on Jun 4, 2018 3:30:59 GMT
They do concessions for disabled people. They also waive the booking fee for disabled people Yes, they said that, and, as above, for young people. But nothing for pensioners, which most theatres do offer, and matinees seem no cheaper, so a double whammy if you are a pensioner looking to book a weekday matinee - and the third and clinching blow is the £2.50 fee. |
|
|
|
Post by Deleted on Jun 4, 2018 6:01:51 GMT
There are a lot of restricted view tickets due to the pillars of the building, but they are generally fine and you miss very little. Avoid the two blocks at the side of the stage though. Plus you can get top price tickets for £20 up to 11th June for Two Noble Kinsmen - www.theatremonkey.com/CURRENTSPECIALOFFERS.htm#Shrew |
|
3,558 posts
|
Post by showgirl on Jun 4, 2018 13:09:39 GMT
Thank you, xanderl - I have done OK with the Globe before and I did see the offer but I'm away from 9 - 16 inclusive and have used all my free time this week. Will keep looking but may have to miss this.
|
|
|
|
Post by Deleted on Jun 7, 2018 9:17:52 GMT
Well. Although I've always loved it, I couldn't be faffed standing about in the yard for this one so I splashed out in the gallery. In my defence, the queue in the toilet was rather long. Fnar fnar. It was lucky I did because a pigeon decided to defecate on some poor people in the yard during the first act which was most amusing.
I rather enjoyed the play as it happens. It's not one I've ever seen before and I found it rather straightforward for a Shakespeare play, not too much fannying around elsewhere with superfluous characters and just getting on with the story. Came in at under 2.5 hours including an interval with a nice glass of wine so job well done although I don't think I've ever seen the Globe so empty, it can't even have been half full.
The cast were good on the whole, Bryan Dick (no, it's just too easy) and Paul Stocker were great as the duelling double act of Arcite and Palamon (Stocker in particular was great) and they had a pair of lovely jackets, although personally I wouldn't have put Bryan in a beige vest. There was also a really rather lovely performance from Andy Cryer as the Jailer and I thought I recognised the camp chap playing Pirithous, turns out to be the fellow from 'Kinky Boots' sans boots. Mayo Akandé looks glorious in a couple of nice frocks and sounds like she's just stepped out of 'Doctor Finlay's Casebook' which is fun and there's a fair bit of comic mugging from Francesca Mills which means that her mad scenes don't really seem particularly mad and aren't as affecting as they could be. Some glorious scene stealing from Jos Vantyler though, pouting for all he's worth and his Gerald is the absolute highlight of the whole show. Loved how he treats the final song and jig as his own too. Never mind that Jane from 'Dinnerladies' is hanging around at the back, it's Jos' show. The final song is rather lovely before they go into a bit off morris dancing too.
But did they have banjos in Elizabethan times? Bet the anti-Emma Rice brigade aren't complaining about that. And I spied some lights at the top of the stage. Sneaky Michelle, very sneaky.
|
|
|
|
Post by Deleted on Jun 7, 2018 9:24:38 GMT
I admit I'd never really heard of Jos Vantyler before he stole the show here, but even more impressive than his commitment to his array of smaller roles is the gobsmacking thoroughness of his Wikipedia entry: en.wikipedia.org/wiki/Jos_Vantyler Has he done it himself? Is it the work of a devoted parent, an over-eager agent, a singularly devoted fan? |
|
2,389 posts
|
Post by peggs on Jun 7, 2018 11:34:11 GMT
I did know Jos Vantyler either and first on he looked like he was playing equivalent of spear holding roles and was doing a very strong man power stance and I thought 'is he trying to make an impression' and this was of course just a pre cursor of some great scene stealing as noted.
Have to admit whilst I prepare for standing with full waterproofs pretty much whatever the weather I don't have a change of clothes with me in case the pigeons poo on me, may have to consider that!
|
|
