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Post by foxa on Feb 22, 2019 0:04:23 GMT
Caught this tonight and rated it. I only looked at a couple of reviews after I came home and was surprised to see it was only awarded 3* in some instances.
The casting/acting/direction are all first class. It's staged on a long traverse stage, so you sometimes feel like you are watching a tennis match as you look from one extreme of the stage to the other, but there is a logic to the choice, with the characters imprisoned on their sections of the stage. We bought £10 tickets months ago and weren't sure where we would be seated, but, as with The Convert, we were put in the first row, which was great for both these productions with performances which rewarded close scrutiny. All the performances were strong, but I rushed home to look up Ukweli Roach's credits (he played Angel) and Oberon K A Adjepong's (he was Lucius.)
Running time 2 hours 15 (I think) with one interval.
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Post by viserys on Feb 22, 2019 5:39:21 GMT
Thanks for the review. I've booked for this in March and this makes me look forward to it even more!
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Post by Deleted on Feb 22, 2019 15:42:12 GMT
I also caught this last night and I am very glad someone else has better luck finding old threads than I do.
I thought this really good, especially given I had booked it as Today Tix a punt months ago. This play fizzes with words. It seems to alternate between crackling exchanges and beautiful monologues. It’s about faith, falls and redemption.
Oberon (I am just calling him that, because WHAT A NAME) is mesmerising as Lucius. He steals every scene he’s in.
I loved the staging with the traverse, I hadn’t realised how flexible the Young Vic space is. I liked the sound design less. I have PTSD and a cacophony of jazz and drums at every blackout really put me on edge.
Billington’s review made little sense to me, he phoned that one in. Interestingly he said almost exactly the same things in his review of the Donmar production.
I’m also surprised this is not getting better reviews. I did find it engaged me intellectually more than emotionally, which, given the subject matter might be the reason for the more muted responses? I’d see it again, and I don’t say that very often.
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Post by david on Feb 22, 2019 16:54:01 GMT
I'm seeing this on saturday night. Thanks for the reviews. I'm looking forward to watching it now after reading them.
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3,306 posts
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Post by david on Feb 23, 2019 23:10:44 GMT
Having watched this tonight, I am in totally agreement with foxa and @happysooz , it is a absolutely fantastic play, both for its writing and performances. Having bought a £20 ticket when it was first announced, I was seated on row A of the stalls and I couldn’t of asked for a better seat. I thought the traverse setting worked very well and having a stripped back staging was very effective in helping to deliver the text. All the performances were top notch, though Oberon K. A. Adjepong was the standout for me. He really did steal the scenes he was in and was worth the ticket price alone. There was plenty of humour within the play which definitely helped balance out the more serious examination of religious beliefs and human redemption. If there was one criticism, the volume of the music between scenes does need to be turned down a notch or ten! It is definitely worth getting a ticket for this if you haven’t already done so. |
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Post by Polly1 on Feb 25, 2019 18:24:34 GMT
Cancelled tonight "due to unforeseen circumstances". Tweet timed at 16.41, I will probably be on a train by then tomorrow so hope they decide a bit sooner. Hope everyone is ok, of course.
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Post by dlevi on Feb 27, 2019 19:58:54 GMT
I saw this this afternoon and it was simply terrific. Wonderfully staged, designed and acted. Fast moving, passionate and surprising. Bravo to all!
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Post by foxa on Feb 27, 2019 20:56:41 GMT
I glad others are liking this too. It has really stuck with me and daughter said it was the best thing she's seen so far this year. Some of the lukewarm reviews are a bit of head-scratcher. The combination of this play and a lovely tapas meal across the street beforehand made for an almost ideal evening out, IMO.
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Post by Deleted on Feb 27, 2019 21:35:56 GMT
I glad others are liking this too. It has really stuck with me and daughter said it was the best thing she's seen so far this year. Some of the lukewarm reviews are a bit of head-scratcher. The combination of this play and a lovely tapas meal across the street beforehand made for an almost ideal evening out, IMO. I echo your thoughts, only we had ramen beforehand, which was very nice (apart from the raindrop cake which is to be avoided.) |
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Post by greenswan on Mar 4, 2019 22:18:08 GMT
Saw this tonight. 10 GBP resulted in a ticket in row K upstairs. View was fine but I lost some of the dialogue when they were speaking with their back to me or behind the partition.
I did expect more out of this and can understand where the three star reviews come from. Though it’s probably borderline for four. In the end it is a lot of sturm and drang for not very much.
Things I liked - the stage design, the strong beginning, the solid acting. Things I didn’t like - the length, the super loud scene changes.
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Post by asfound on Mar 6, 2019 8:37:19 GMT
I got a £10 lucky dip ticket and ended up third row dead centre. I guess a tactic might be to see which days look like they aren't selling so well and buy one for then?
I thought it was really good although Lucius felt miscast to me and his schtick got a bit annoying. Rest of the cast where fantastic though, especially Ukweli Roach. It really didn't seem to have much to do with or say about the American justice system though, which is fine by me - I prefer personal stories to general political ones. Loved the themes of guilt, faith, religion and secular morality and responsibility, almost felt like Crime and Punishment in its intensity at times.
The startlingly loud jazz improv interludes were great too, was thinking how amazing it would have been to have a live band doing them.
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Post by juicy_but_terribly_drab on Mar 9, 2019 19:17:10 GMT
First time with a lucky dip ticket this evening so fingers crossed for a good seat (and a good show)!
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Post by missthelma on Mar 9, 2019 19:31:50 GMT
I saw the matinee today and am going to be very boring and just add to the chorus of approval thus far. I really enjoyed this, nice to see a play with a linear story that made you think about the issues it raised and no need for fancy bells and whistles. Such a minimalist set really but nothing else was needed. The Young Vic is such a versatile space, I don't think I've ever seen the auditorium in exactly the same configuration twice, this was the closest as it was similar to The Trial.
Again my early booked £10 ticket resulted in a front row seat. Well written and superbly acted by all. I would definitely recommend.
I was also startled by the loud music but began to think it was deliberately so. If you have ever been on a wing in a prison, it is a cacophony of noise that you cannot control and it feels overpowering. Similarly this was the same but after a while I tuned it out as people in prison do otherwise you can't function. I don't remember it in the second act as much. Don't know if this is as written in play or a directors choice but for me it worked.
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Post by juicy_but_terribly_drab on Mar 9, 2019 20:38:57 GMT
I saw the matinee today and am going to be very boring and just add to the chorus of approval thus far. I really enjoyed this, nice to see a play with a linear story that made you think about the issues it raised and no need for fancy bells and whistles. Such a minimalist set really but nothing else was needed. The Young Vic is such a versatile space, I don't think I've ever seen the auditorium in exactly the same configuration twice, this was the closest as it was similar to The Trial. Again my early booked £10 ticket resulted in a front row seat. Well written and superbly acted by all. I would definitely recommend. I was also startled by the loud music but began to think it was deliberately so. If you have ever been on a wing in a prison, it is a cacophony of noise that you cannot control and it feels overpowering. Similarly this was the same but after a while I tuned it out as people in prison do otherwise you can't function. I don't remember it in the second act as much. Don't know if this is as written in play or a directors choice but for me it worked. I'm in the interval right now but noticed the music was less startling as it went on as it no longer started with loud drums so perhaps it's just that the music does get quieter. |
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Post by juicy_but_terribly_drab on Mar 9, 2019 22:09:25 GMT
As everyone else has said, this is great. Brilliantly acted and thought provoking. Not much more to say really.
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Post by viserys on Mar 16, 2019 7:18:38 GMT
Saw this on Thursday, liked it very much. Felt a bit like a typical American prison drama movie to me, but lots of fodder for thought and amazing performances by the two leads.
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Post by mallardo on Mar 16, 2019 11:41:42 GMT
Saw this on Thursday, liked it very much. Felt a bit like a typical American prison drama movie to me, but lots of fodder for thought and amazing performances by the two leads.
It has the shape and atmosphere of a typical prison drama but, for me, it is elevated by the sheer virtuosity of the writing and by its sustained play of ideas. It lays out its metaphor in plain sight - the prisoner protagonists are Lucius (Lucifer) and Angel, while the intervening agent, the morally flawed lawyer, is Mary (Magdalene). The play is a discourse on good and evil and the possibilities of redemption. The setting, Riker's island, is pure hell.
If all of that seems obvious and even trite it does not play that way. Both Lucius and Angel are brilliantly realized (and wonderfully acted) creations, complex, charismatic, never at a loss for words, to put it mildly. As befits the devil, Lucius is the attention grabber from the start. We respond to him even after we learn the nature of his horrific crimes. But as the play develops Angel comes more and more to the fore until, in fact, he takes it over. His story is the through line of the piece.
The one issue I have is with the Mary figure. She is a crucial element both to the story and to the underlying theme and her scenes should carry equal weight but they do not. I don't think it's the writing, I think it's just that a very good actress has been miscast here - she simply lacks the heft to stand toe to toe with the two powerhouses that frame her actions.
But, that said, it's a great play and, I think, a great production, beautifully conceived and directed by Kate Hewitt. Don't miss it.
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Post by NeilVHughes on Mar 16, 2019 20:34:01 GMT
Also there this afternoon, surprised how many empty seats there were.
Strong performances made for a thought provoking afternoon, on Kerwin’s accent, there was definitely an underlying Irish twang.
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Post by nash16 on Mar 16, 2019 21:59:00 GMT
Saw this on Thursday, liked it very much. Felt a bit like a typical American prison drama movie to me, but lots of fodder for thought and amazing performances by the two leads.
It has the shape and atmosphere of a typical prison drama but, for me, it is elevated by the sheer virtuosity of the writing and by its sustained play of ideas. It lays out its metaphor in plain sight - the prisoner protagonists are Lucius (Lucifer) and Angel, while the intervening agent, the morally flawed lawyer, is Mary (Magdalene). The play is a discourse on good and evil and the possibilities of redemption. The setting, Riker's island, is pure hell.
If all of that seems obvious and even trite it does not play that way. Both Lucius and Angel are brilliantly realized (and wonderfully acted) creations, complex, charismatic, never at a loss for words, to put it mildly. As befits the devil, Lucius is the attention grabber from the start. We respond to him even after we learn the nature of his horrific crimes. But as the play develops Angel comes more and more to the fore until, in fact, he takes it over. His story is the through line of the piece.
The one issue I have is with the Mary figure. She is a crucial element both to the story and to the underlying theme and her scenes should carry equal weight but they do not. I don't think it's the writing, I think it's just that a very good actress has been miscast here - she simply lacks the heft to stand toe to toe with the two powerhouses that frame her actions.
But, that said, it's a great play and, I think, a great production, beautifully conceived and directed by Kate Hewitt. Don't miss it.
Yes, so disappointed in Dervla Kirwan's performance. Instead of finding her character's energy, she took her own onstage instead. Which isn't that character's energy at all. She's meant to be a feisty, Italian catholic east coaster. The director must shoulder blame here too for not pushing her to that. And it's not like they cast her as star casting. As you say, the only weak link, but an unfortunate one. |
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Post by mallardo on Mar 16, 2019 23:55:34 GMT
Liked it a lot this afternoon. Not sure about Kerwin's accent - seemed a little generic, wonder if an American can comment on that mallardo ? Sound performances, liked the staging and direction a lot. Only other slight gripe was wondering if the dialogue maybe slipped into a little "stage literate" at times. No matter, easy strong 4 stars from me.
Kerwan's accent was, as you say, TM, generic American as opposed to specific New York-ese which everyone else was doing quite successfully - but it didn't bother me. I like Nash16's comment about her bringing her own energy to the piece. I think that's a good description of the way she was playing the role.
Re the "stage literate" dialogue it seems to me that one of Stephen Adly Guirgis's great strengths is his ability to express big ideas through down and dirty street talk without ever striking a false note. There is perhaps a slight heightening of the dialogue at times but, for me, credibility is never an issue.
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Post by Deleted on Mar 17, 2019 10:45:13 GMT
Could I get a quick primer on ‘stage literate’ dialogue? I’m struggling to get to grips with the term.
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Post by Deleted on Mar 17, 2019 10:46:02 GMT
Liked it a lot this afternoon. Not sure about Kerwin's accent - seemed a little generic, wonder if an American can comment on that mallardo ? Sound performances, liked the staging and direction a lot. Only other slight gripe was wondering if the dialogue maybe slipped into a little "stage literate" at times. No matter, easy strong 4 stars from me.
Kerwan's accent was, as you say, TM, generic American as opposed to specific New York-ese which everyone else was doing quite successfully - but it didn't bother me. I like Nash16's comment about her bringing her own energy to the piece. I think that's a good description of the way she was playing the role.
Re the "stage literate" dialogue it seems to me that one of Stephen Adly Guirgis's great strengths is his ability to express big ideas through down and dirty street talk without ever striking a false note. There is perhaps a slight heightening of the dialogue at times but, for me, credibility is never an issue.
I haven't seen this one (I was drinking in the bar one night as it let out that almost counts right?!) anyway just to agree that's exactly how he writes, and yes sometimes it feels a bit 'heightened' but it's for effect, and one that (for me anyway) always lands. Like the Monkey says, even if it doesn't always land (actually a few of Mofo's lines 10 years on don't quite) overall it does, so it doesn't matter too much. Anyway it's a distinctive style compared to other contemporary American writers and I really like it. |
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Post by Deleted on Mar 17, 2019 17:08:50 GMT
I was there yesterday too - enjoyed a lot although I agree with earlier comments that the scene change music was far too loud - quite uncomfortable at points ("YES BUT NOT AS UNCOMFORTABLE AS BEING IN PRISON!!")
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Post by itsabouttogdown on Mar 19, 2019 23:21:02 GMT
I feel I need to think further about it but my initial thoughts are I found the production a little over directed? The text is brilliant and the text can do a lot of the heavy lifting but I just found Kate Hewitt kept throwing everything at it.
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Post by partytentdown on Mar 22, 2019 16:33:51 GMT
Overheard someone referring multiple times to this as 'Jesus Hopped on a Train' which sounds quite jolly.
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