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Post by jgblunners on Mar 25, 2019 23:05:34 GMT
Just got home from tonight's performance and I thought it was absolutely brilliant. An utterly gripping analysis of how we perceive morality, judgement, and retribution. It quite rightly presents some uncomfortable truths and asks us to consider our beliefs when faced with the 'real people' behind the crimes rather than just a name in a news article. The critique of the American sex offender justice system was a little heavy-handed in the first act, but it gained some nuance in the second (which was overall stronger in my opinion). Fantastic performances from all the cast, treading fine lines and creating just the right atmosphere for the moment. A difficult watch, but one that is immensely rewarding in an are-you-prepared-to-reconstuct-your-preconceptions kind of way. Very informative and engaging programme notes too (which is to be fair usually the case at the NT).
Just to note, I was at the side of the Circle (N64, just over half-way along the side, slightly closer to the stage than the doors) and the restriction is minimal for this play - there are a few moments where you have to lean forward slightly to see characters, but by and large it's played centrally. I have a feeling low numbers side may have to lean less frequently than the high numbers side.
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Post by Deleted on Mar 26, 2019 22:54:51 GMT
Just seen the play tonight.
Can't overstate how wonderful this is. Yes, it's a bit heavy at times but the acting is tremendous and the story is compelling.
Possibly the best play I've seen in the Dorfman and hopefully it transfers.
Possible Olivier/Evening Standard winner.
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Post by Phantom of London on Mar 27, 2019 0:13:23 GMT
I also saw this tonight.
The central conceit of this play is child abuse, which is a troubling and sensitive subject, but oddly enough can make for a riveting and engrossing play. Bruce Norris’ play started life at the Chicago’s Steepenwolf Theatre, which maybe America’s answer to the Royal court, one of the finest producing houses in the world, that also has a first class repertory acting troupe and my word I witnessed some brilliant acting tonight that is pulled straight from the top draw. Top acting doesn’t necessary need to make you feel good, if you have the feeling of revulsion, then they have equally applied their trade brilliantly.
Child abuse is no stranger to the stage with such plays as; the Pulitzer winning How I Learned to Drive, Stalking the Bogeyman, Frozen and the recent Jesus Hopped on the A Train. Here is a play about 4 sex offenders living in a group house in Illinois and with varying degrees of child abuse. The part of the play I didn’t find plausible was when one of the victims just rocked up for some restorative justice, this would have been conducted in a more controlled way with a social worker present, but for my minor cavil it is a terrific play.
4 Stars
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Post by david on Mar 30, 2019 18:18:57 GMT
After watching today’s matinee, I’m in total agreement with the thoughts of the posts above. This is an absolutely fantastic piece of theatre, both in the quality of writing (which was both totally engaging and very thought provoking both during the play and post show) and the acting from the entire cast (which is top drawer stuff for the entire 2hrs).
Sat in the pit area A7 so front and centre was an absolute steal at £28. Despite the ticket saying restricted view, I didn’t feel that this was the case at all as the stage isn’t particularly high and the set is on a single level so nothing is missed. I also got the luxury of having ample leg room in front of me which was very nice.
I was really surprised at how much humour was within the writing with some great one liners helped to balance out the more darker elements of the text. Certainly it isn’t an easy watch due to the nature of the subject material, with Act 2 in my opinion being the stronger of the 2 Acts as the impact the abuse is played out on stage.
If I had one criticism of the writing, it would be the meeting between Andy and Fred. The way it was done I felt wouldn’t happen in a real situation, but apart from that I couldn’t fault the writing.
The programme notes are worth having a read of pre-show to give you a bit more info about the legal handling of child abuse in the U.S.
I think this is one of those plays that will live long in the memory and the Dorfmann theatre has got another hit on its hands here. Hopefully this production will get some recognition in future awards nights as it deserves to win something for an absolutely brilliant piece of drama. 4*
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Post by david on Apr 3, 2019 16:59:55 GMT
For anybody wanting to watch this, TodayTix are doing £25 tickets for for the 4th-9th April.
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Post by Deleted on Apr 4, 2019 8:33:30 GMT
Not sure if the National are doing late releases of these but the "flip-down" seats at the ends of rows in the pit are on sale for both of Saturday's performances for £18.
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Post by zahidf on Apr 4, 2019 9:02:46 GMT
Not sure if the National are doing late releases of these but the "flip-down" seats at the ends of rows in the pit are on sale for both of Saturday's performances for £18. Thanks, got one for the matinee ( for £15!) |
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Post by missthelma on Apr 6, 2019 19:13:53 GMT
So I caught this today and I have to say I was mightily impressed with some aspects whilst thinking that other parts could be tweaked a little. Superbly written and performed as mentioned by most of the previous people in this thread and I can only echo this. The writing in particular is a dream and quite sublime in what it does, I have yet to read my programme but will be fascinated to see what the author drew from. I was reminded a little of Sweat in that the dialogue felt so real and true, it felt drawn from life. Some of the detailling was exquisite from the nauseating 'inspirational' poster on the back wall to the fire extinguisher and information by the kitchen, all whilst pretending this was a 'home'. Bravo to set designer or author whoever came up with this. I am not sure how much of what I write to put under a 'spoiler' tag so just be warned if you haven't seen this yet I may mention things you don't want to know. As somebody who worked with sexual offenders for 15 years I can state that Norris totally nailed the personality types, behaviours and attitudes. I have been in a room or a cell with almost exact replicas of the four men presented in the play. Whether intentional or not he also presented a good range of offenders across the spectrum of denial of their behaviour. He only missed off the fully repentant which may be due to it being dramatically uninteresting or because sadly it is quite rare and denial is a more pronounced trait. The character of the victim seems to have been where people felt the play lacked in this thread, I think possibly too much was given to this character and he was presenting the whole range of behaviours that victims can exhibit, whereas the perpetrators were spread across four people. Again I have seen what was presented in real life victims, who often have so many conflicting feelings
{Spoiler - click to view}
The scene with Fred & Andy in the second act where Fred is using the music from the past to control Andy's thoughts and feelings, utter brilliance Certainly in the UK you are not able to access details of where an offender lives so blatantly so the confrontation between them would probably be managed better and with a Victim Liasion Officer, Probation Officer or restorative justice worker present. I also don't think we have the style of 'group homes' over here which seem common in the States for this and other purposes; we do have hostels/approved premises here but somebody couldn't just rock up like the victim did here. I also thought the world weary probation officer and the entitled milennial friend were very well sketched out by the author.
{Spoiler - click to view}
In the UK, the friend wouldn't be yelling about 'safe space' but would be talking about 'infringing human rights' The one thing I didn't think worked was the wife character of Andy, her role either needed to be bumped up considerably or excised, am not sure she brought anything to the play at all. Nothing against the actress, I just don't think she had enough to work with.
{Spoiler - click to view}
And that DAWG! It was quite a hip almost Young Vic type audience, lots of young men with trousers too short for them (poor lambs must be short of cash to have to wear hand me downs) and young ladies with hair in all shades of the speculum (thank you Ms Wood). I did think that some of the laughter, despite it being a very funny play in parts, was inappropriate though. Difficult to know if that was due to discomfort from those laughing. Last spoiler, hopefully I've done this right!
{Spoiler - click to view}
Some people have mentioned that the men who'd offended were presented as not too creepy or words to that effect. I guess having worked with people like this I may be better able to seperate the person from the acts and to see them as people and also predators. But all four of those men were highly dangerous and would be classed as 'high risk'. You have a befuddled old man using his age and affability to continue to deny his acts [Fred), another who still characterises his abuse after 20 + years as a 'relationship' (Dee), another contacting his familial victim covertly (Felix) and the classic minimiser who blames the victim and also thinks he is somehow 'not as bad' as he rest (Gio). I'd be seriously concerned about anybody I was working with presenting with behaviours quite so blatant!! |
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Post by Deleted on Apr 7, 2019 8:01:19 GMT
Thanks missthelma, very interesting insight Not sure if "enjoyed" is the right word but I'm glad I saw this. I found the second half a bit of a slog as it went on for another 10 minutes after what I assumed was the ending. £15 or £18 fold-down seats were perfectly comfy and a great bargain! Also (unusually for the National these days) the set is well designed and open at the sides so I think the side seats would give a good view for this one. I saw Norris's "The Qualms" in New York a few years ago which was excellent, surprised that's not made it over here. |
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Post by Mark on Apr 7, 2019 9:05:35 GMT
Also (unusually for the National these days) the set is well designed and open at the sides so I think the side seats would give a good view for this one. Glad to here this, I've got Row L seats for Friday. |
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Post by youngoffender on Apr 7, 2019 16:25:50 GMT
Having seen yesterday's matinee, this tops Sweat for best of the year so far, and in fact I cannot remember when a play last had me this riveted - a brilliant script, faultlessly acted. As with Clybourne Park, it never feels as though Norris is tackling an explosive topic for the sake of sensation or mischief-making: what makes it so challenging is his determination to fully realise each character, our sympathies shifting with every nuance. With the fourth wall removed, as the excellent set literally does for the offenders' house, we are forced to confront their humanity in a way that those blasting shells through their window don't have to. It's all the more uncomfortable when the visiting 'survivor' (as Dee would scare-quote it) is not a noble cipher, his regurgitation of therapy-speak irritating us even while we're left in no doubt that his memories are accurate. His showdown with Fred in the second act, while Dee tries to undermine him, is one of the finest dramatic scenes I have ever seen.
Are there flaws? Well, it seems to take the characters the whole second act to work out what most of the audience already has, if only for the big spoiler of a trigger warning at the theatre entrance. And it does not quite know how to end. But for dialogue this rich, and performances so perfectly pitched, Downstate is absolutely essential. Kudos to Rufus for bringing us this (no relation, I assume).
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Post by TallPaul on Apr 8, 2019 12:21:10 GMT
I haven't seen the play, and I think this is it's first airing, but there is a programme on BBC4 at 10pm tonight that may put some flesh on the bone.
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Post by zahidf on Apr 10, 2019 9:04:15 GMT
For anybody wanting to watch this, TodayTix are doing £25 tickets for for the 4th-9th April. Looks like this offer is extended to the rest of the run |
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Post by couldileaveyou on Apr 11, 2019 18:23:25 GMT
I saw the matinee today and I can't really add anything to what mallardo , Steve and missthelma said: it's a beautifully written, acted and directed play, upsetting and thrilling at the same time. It might not be perfect, but it's one of the best new pieces of writing I've seen in a long while. And as always foxa is right, reviews here are more understanding and nuanced than the ones you read in the press. {Spoiler - click to view}
That german shepherd with the boots? a very good boy. |
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Post by Mark on Apr 12, 2019 21:39:43 GMT
So I’m going to agree with pretty much everything my fellow posters have written here. Such an exceptional piece of writing.
Cecilia Noble I thought was wonderful, as were all the actors. I’ll agree with the similarities made to Sweat. These all felt like real people having real conversations.
This should definitely be remembered come awards season for Best Play, and some of the performances.
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Post by Rory on Apr 12, 2019 22:31:29 GMT
I don't think it will but I'd love this to transfer into Trafalgar Studios 1.
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Post by Jon on Apr 12, 2019 23:03:28 GMT
I don't think it will but I'd love this to transfer into Trafalgar Studios 1. I think it'd struggle in the West End just because of the nature of the play. |
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Post by Rory on Apr 12, 2019 23:14:19 GMT
I don't think it will but I'd love this to transfer into Trafalgar Studios 1. I think it'd struggle in the West End just because of the nature of the play. I think I agree with you. |
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Post by Deleted on Apr 13, 2019 6:31:10 GMT
It's even struggling a wee bit in the Dorfman, I've been offered freebies or discounts more than once.
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Post by Latecomer on Apr 14, 2019 14:05:38 GMT
This was splendid. One of those theatre experiences where the acting is so good and the play so absorbing that you sort of emerge blinking into the night trying to adjust to “real life” afterwards, as it has transported you to somewhere else completely for the duration. Lovely also to hear young people next to me discussing the issues next to me in such a passionate reasonable way...sometimes the youngsters give me such hope for the future!
Front row seats are a bargain....great legroom, low stage and stage well organised so you can see everything.
I liked the ending.
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Post by andrew on Apr 16, 2019 21:47:17 GMT
Thank god I'm not the first person to say note this, but just so we're all on the same page {Spoiler - click to view}
Was that a GERMAN SHEPHERD IN LITTLE DOGGY BOOTS?!!?!?! 5 star play anyway, even without the above. |
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Post by londonpostie on Apr 18, 2019 20:30:39 GMT
Far, far too much to say about this wonderful piece of work but thought I’d share two thoughts that may not be common
While so much is ambiguous, I couldn’t quite put aside the feeling the woman PO intentionally facilitated the suicide.
Perhaps more controversially, I also couldn’t put aside the idea the liberal-victim had a plan, which was to extract a signed confession from wheelchair guy for an additional offence (that he may or may not have committed). That, of course, would have him put back in prison. Towards the end we were introduced to liberal-victims deviousness (circumcised or not?) and I thought to some extent that was our flag. He really wanted that signature.
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Post by Stephen on Apr 18, 2019 21:44:43 GMT
Thought this was excellent. I wasn't surprised having read much praise for the play here and elsewhere but was shocked by the content.
A stellar cast which I found completely believable.
I was slightly distracted by Andy (Tim Hopper) as I knew I'd seen him before but couldn't place him. Turns out he played Zach's dad in School of Rock.
N26 in the Dorfman circle provides an adequate if restricted view at times. I couldn't help but feel if the sofa had been slightly further over then most of my row wouldn't have missed anything.
Mathew Warchus, James Graham and Adam James in attendance tonight.
My first visit to the Dorfman was a successful one!
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Post by johng on Apr 19, 2019 13:02:45 GMT
I'm choosing a ticket for this for the matinee on April 27 and would be grateful for some advice.
My options are Pit H13, K10, L33, M31 or Circle N43.
I would normally go for H13 as the closest to the stage but as I'm only 5'7" I was slightly concerned by a note on the monkey's site
that the rake is very shallow.
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Post by londonpostie on Apr 19, 2019 13:29:37 GMT
I'm not going to help you much by saying the walk back and forth from A to the rear felt like a shallow-ish but almost normal rake to me, however, much of this play takes place with the actors sitting down.
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