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Post by happytobehere on Feb 28, 2020 17:44:55 GMT
Only heard of this play like 12 hours ago but it sounds like it right up my street, so booked myself a ticket on a whim - hopefully it’s great!
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Post by horton on Feb 28, 2020 18:08:58 GMT
Another thread dominated by the "how do I get in cheap?" brigade.
For those of us who want to discuss 'The Pillowman', I am disappointed by this casting- certainly a step down from Broadbent and Goldblum.
Having seen both live (and don't forget David Tennant was also in the NT production), Goldblum was slightly better, I feel, as he brought his trademark other-worldliness to the role. Can Pemberton bring the gravitas and cynicism necessary for the role? He was always the "lightest" of the League of Gentlemen.
Matthew Dunster seems to be this author's go-to director, but I don't understand why. His approach seemed prosaic in 'Hangmen' and 'A Very Very Very Dark Matter' (both lesser McDonagh plays, admittedly).
McDonagh's writing on stage and screen has seemed rushed since "Seven Psychopaths"- like he is not getting time to polish first drafts- so at least this is a bona fide masterpiece to start with; but choices of cast and creatives do not suggest to me that this production will match the bliss of the National's original.
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Post by katurian on Feb 28, 2020 18:34:27 GMT
Another thread dominated by the "how do I get in cheap?" brigade. What's wrong with that? I would love to see this play, it's an all time favourite (hence my username) and I've only ever read it, but I won't be able to unless I compromise as best I can with restricted views or find some sort of deal. Wanting to find those deals isn't wasting a thread. It's just west end prices aren't easy. As for the casting, I think Steve Pemberton definitely has the right vibe for his part, if you've ever seen his range in Inside No. 9. I'm slightly unsure about ATJ. I imagine David Tennant owned the part, in fact when I read it I ended up hearing him saying all the lines, but I've only seen ATJ in film and I'm not sure what he'll be like on stage. That's the main reason I'm unsure whether to splash out. I think the power trio of McDonagh, Matthew Dunster and Anna Fleischle is always fabulous theatrically. When the writing and characters are that good, you don't want a lot of distracting fuss in the direction. Although Pillowman might require some theatrical embellishment, more because of how it's told. Hangmen was perfect, IMO. AVVVDM wasn't quite as good... because the play wasn't as good. It did need a few more drafts, I feel (although I still mostly enjoyed it), but that wasn't at the fault of the director. Did you find Three Billboards rushed? |
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Post by Deleted on Feb 28, 2020 18:35:47 GMT
The Pillowman is truly first-rate McDonagh. I still have very fond memories of seeing the Broadway production with Billy Crudup, Jeff Goldblum, Zeljko Ivanek and Michael Stuhlbarg. So very good.
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Post by lookingatthestars on Feb 28, 2020 18:42:21 GMT
The Pillowman is truly first-rate McDonagh. I still have very fond memories of seeing the Broadway production with Billy Crudup, Jeff Goldblum, Zeljko Ivanek and Michael Stuhlbarg. So very good. I would have loved to experienced this cast! |
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Post by NeilVHughes on Feb 28, 2020 18:49:15 GMT
This thread has followed/will follow the standard Theatre Board reaction to a new announcement
- One of us gets to hear of a new production
- A few posts musing on the initial post
- A wave of posts on finding the best view to price seats (thank you Mr Monkey)
- A period of quiet as the initial interest wanes
- The performance posts where we finally get to know the production warts and all
Speaking for myself I love this dynamic, finding a deal and then following the discussion on the play/production, the excitement of finding a deal adds to the experience of the play itself and there is nothing better than seeing a great play in a good seat at a bargain price.
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Post by Deleted on Feb 28, 2020 19:31:06 GMT
This thread has followed/will follow the standard Theatre Board reaction to a new announcement - One of us gets to hear of a new production - A few posts musing on the initial post - A wave of posts on finding the best view to price seats (thank you Mr Monkey) - A period of quiet as the initial interest wanes - The performance posts where we finally get to know the production warts and all Speaking for myself I love this dynamic, finding a deal and then following the discussion on the play/production, the excitement of finding a deal adds to the experience of the play itself and there is nothing better than seeing a great play in a good seat at a bargain price. You forgot the bit where those of us of a nervous disposition ask if we’ll be able to make it through the show without fainting. ;-) (Don’t worry, I’ve read the synopsis for this one, and there is no way I’d even consider going!) |
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Post by andrew on Feb 28, 2020 21:42:47 GMT
This thread has followed/will follow the standard Theatre Board reaction to a new announcement - One of us gets to hear of a new production - A few posts musing on the initial post - A wave of posts on finding the best view to price seats (thank you Mr Monkey) - A period of quiet as the initial interest wanes - The performance posts where we finally get to know the production warts and all Speaking for myself I love this dynamic, finding a deal and then following the discussion on the play/production, the excitement of finding a deal adds to the experience of the play itself and there is nothing better than seeing a great play in a good seat at a bargain price. You forgot the bit where those of us of a nervous disposition ask if we’ll be able to make it through the show without fainting. ;-) (Don’t worry, I’ve read the synopsis for this one, and there is no way I’d even consider going!) After a few previews someone will post a report about loud noises as well. |
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Post by Deleted on Feb 28, 2020 21:44:52 GMT
At least you're spared the incessant "who comes out to sign at the stage door?" posts that we have to endure in the States.
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Post by horton on Feb 28, 2020 22:09:24 GMT
Another thread dominated by the "how do I get in cheap?" brigade. What's wrong with that? I would love to see this play, it's an all time favourite (hence my username) and I've only ever read it, but I won't be able to unless I compromise as best I can with restricted views or find some sort of deal. Wanting to find those deals isn't wasting a thread. It's just west end prices aren't easy. As for the casting, I think Steve Pemberton definitely has the right vibe for his part, if you've ever seen his range in Inside No. 9. I'm slightly unsure about ATJ. I imagine David Tennant owned the part, in fact when I read it I ended up hearing him saying all the lines, but I've only seen ATJ in film and I'm not sure what he'll be like on stage. That's the main reason I'm unsure whether to splash out. I think the power trio of McDonagh, Matthew Dunster and Anna Fleischle is always fabulous theatrically. When the writing and characters are that good, you don't want a lot of distracting fuss in the direction. Although Pillowman might require some theatrical embellishment, more because of how it's told. Hangmen was perfect, IMO. AVVVDM wasn't quite as good... because the play wasn't as good. It did need a few more drafts, I feel (although I still mostly enjoyed it), but that wasn't at the fault of the director. Did you find Three Billboards rushed? The self-serving enquiries about how to get cheap tickets a) makes reading these threads much more difficult as every comment about the actual production is interrupted by 3 questions seating which are of no interest to anyone other than the enquirer (eg is A 23 is good seat? is the £15 seat far back?) b) producers have been forced to re-shape their business models massively because so many customers no expect to get a discounted ticket- apart from the juggernauts, independent producers are increasingly squeezed by rising costs and falling revenues, which is unhealthy for the industry. Look at the income distribution in the recent box office figures for 2019) Anyway back to McDonagh, I found Hangmen to be a thoroughly unsatisfying piece, with unfinished plotlines, lazy jokes at the expense of the comedy deaf old guy and a set design with terrible sightlines. Three Billboards was either rushed or deeply compromised by big movie production demands- the Willoughby/ Anne relationship was lazy, the requirement for the grieving widow to deliver a message to Mildred on the very day of her bereavement stretched credulity. The big reconciliation scene at the reposting of the billboards was trite, very un-MacDonagh and vaguely offensive in that Denise had to be found romance with another nice convenient POC as if that was the only option. I'm not sure whether the reptition and confusion of short comments and sentences (such as between Dixon and the desk sergeant) has become a trademark or just schtick. MacDonagh can't help but write great dialogue sequences, (and especially colourful bravura expletives and insults), but the overall structure felt wobbly and the ending did not feel like a cliff-hanger but more a non-decision. And in terms of it not being the director's fault that a play needs a re-draft, one of the director's most important jobs is to highlight areas of a text that need further work. |
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Post by zahidf on Feb 28, 2020 22:14:12 GMT
What's wrong with that? I would love to see this play, it's an all time favourite (hence my username) and I've only ever read it, but I won't be able to unless I compromise as best I can with restricted views or find some sort of deal. Wanting to find those deals isn't wasting a thread. It's just west end prices aren't easy. As for the casting, I think Steve Pemberton definitely has the right vibe for his part, if you've ever seen his range in Inside No. 9. I'm slightly unsure about ATJ. I imagine David Tennant owned the part, in fact when I read it I ended up hearing him saying all the lines, but I've only seen ATJ in film and I'm not sure what he'll be like on stage. That's the main reason I'm unsure whether to splash out. I think the power trio of McDonagh, Matthew Dunster and Anna Fleischle is always fabulous theatrically. When the writing and characters are that good, you don't want a lot of distracting fuss in the direction. Although Pillowman might require some theatrical embellishment, more because of how it's told. Hangmen was perfect, IMO. AVVVDM wasn't quite as good... because the play wasn't as good. It did need a few more drafts, I feel (although I still mostly enjoyed it), but that wasn't at the fault of the director. Did you find Three Billboards rushed? The self-serving enquiries about how to get cheap tickets a) makes reading these threads much more difficult as every comment about the actual production is interrupted by 3 questions seating which are of no interest to anyone other than the enquirer (eg is A 23 is good seat? is the £15 seat far back?) b) producers have been forced to re-shape their business models massively because so many customers no expect to get a discounted ticket- apart from the juggernauts, independent producers are increasingly squeezed by rising costs and falling revenues, which is unhealthy for the industry. Look at the income distribution in the recent box office figures for 2019) Anyway back to McDonagh, I found Hangmen to be a thoroughly unsatisfying piece, with unfinished plotlines, lazy jokes at the expense of the comedy deaf old guy and a set design with terrible sightlines. Three Billboards was either rushed or deeply compromised by big movie production demands- the Willoughby/ Anne relationship was lazy, the requirement for the grieving widow to deliver a message to Mildred on the very day of her bereavement stretched credulity. The big reconciliation scene at the reposting of the billboards was trite, very un-MacDonagh and vaguely offensive in that Denise had to be found romance with another nice convenient POC as if that was the only option. I'm not sure whether the reptition and confusion of short comments and sentences (such as between Dixon and the desk sergeant) has become a trademark or just schtick. MacDonagh can't help but write great dialogue sequences, (and especially colourful bravura expletives and insults), but the overall structure felt wobbly and the ending did not feel like a cliff-hanger but more a non-decision. And in terms of it not being the director's fault that a play needs a re-draft, one of the director's most important jobs is to highlight areas of a text that need further work. You dont have to read the threads. Nothing wrong with asking about cheap tickets/offers. People aren't rich. |
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Post by zahidf on Feb 28, 2020 22:18:31 GMT
Wonder what happened with the beauty queen of lehane revival at the lyric
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Post by crowblack on Feb 28, 2020 22:41:48 GMT
every comment about the actual production When we have seen it - which some of us are only able to do from the cheap seats because we're evidently not all as rich as you, or as tall, or as short, whatever - we'll come back here and discuss the production itself. That's a bit hard to do at the mo because they've only announced two of the cast and one of them isn't a stage actor, it doesn't open till the end of July, and some (me, for instance) haven't seen or read it before but are going on the strength of the writer's other work. |
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Post by jakobo on Feb 28, 2020 23:27:50 GMT
The self-serving enquiries about how to get cheap tickets a) makes reading these threads much more difficult as every comment about the actual production is interrupted by 3 questions seating which are of no interest to anyone other than the enquirer (eg is A 23 is good seat? is the £15 seat far back?) b) producers have been forced to re-shape their business models massively because so many customers no expect to get a discounted ticket- apart from the juggernauts, independent producers are increasingly squeezed by rising costs and falling revenues, which is unhealthy for the industry. Look at the income distribution in the recent box office figures for 2019) Can you expand on this? In what way they changed business models and how the income distribution differs from previous years? Not that I disagree, I just want to know more as I'm interested in theatre production. 2019 was the highest grossing year ever even though some big theatres were dark for considerable time, so I thought West End was doing quite well. |
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Post by londonpostie on Feb 29, 2020 0:19:36 GMT
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Post by popcultureboy on Feb 29, 2020 8:08:16 GMT
Also- why do you all think the boxes aren't on sale? I was temted to go for one of the cheap seats in upper circle but I wonder if it is worth waiting for the Today Tix offers instead to get a better seat in the stalls for just a few pounds more... The boxes will always be off sale until the show actually arrives at the venue. This is to ensure that the sightlines from them are decent enough to actually sell, but also to make sure the boxes aren't filled with lights or any other equipment that would render them unusable. |
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Post by Rory on Jun 4, 2020 23:01:53 GMT
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Post by Deleted on Apr 1, 2021 16:08:19 GMT
Have there been any more developments on this since they said it was on hold until this year? The Ocean at the end of the lane is opening in October, which makes me wonder if A) a new theatre has been found, B) it is now pushed back to 2022 or C) the production has been dropped.
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Post by chrissie on May 7, 2021 14:04:26 GMT
I booked tickets for this play last September, heard nothing from ATG about when it might start again, Is anyone else in this situation? Impossible to get hold of ATG!
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Post by n1david on May 7, 2021 15:39:30 GMT
I booked tickets for this play last September, heard nothing from ATG about when it might start again, Is anyone else in this situation? Impossible to get hold of ATG! I don't think you've missed anything. It's still in my COVID spreadsheet as "Awaiting Further Update" - nothing since the "postponed to 2021" announcement in the post above from June 2020. |
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Post by Rory on May 7, 2021 16:10:20 GMT
No word yet either on The Doctor at the same venue.
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Post by firefingers on May 8, 2021 13:03:10 GMT
I hadn't booked as was still sorting out my schedule, but this was the opening I was looking forward to the most so hopefully it reappears.
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Post by Lemansky on Feb 8, 2022 9:41:40 GMT
Has anyone with tickets had any news about this yet. I'd forgotten I'd booked and am sure ATG still have my money for this, it didn't come back to me in a credit voucher like everything else that was cancelled. I have emailed them but don't expect a reply for a while! I'm happy for them to swap the tickets but only if it's actually going to come back in the near future and I imagine it's going to take a bit of organizing to have the cast they originally planned.
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Post by crowblack on Feb 8, 2022 10:19:45 GMT
Same here - I think I booked but it's so long ago I'd forgotten!
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Post by Mark on Oct 18, 2022 19:20:17 GMT
I think that playtext says The Pillowman, and they were producing originally. Duke of York’s is free from end of Jan.
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