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Post by zahidf on Oct 3, 2020 0:04:41 GMT
Having gone to the bridge theatre...
I wouldn't worry too much about staggered arrival times
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Post by Deleted on Oct 3, 2020 7:05:12 GMT
The website confirms that if you arrive after your scheduled time you will still get in but may have to wait. Agree with mkb on the 24 hour limit on returns being a problem. The need to rethink this. The Bridge by comparison allows a refund up to 2 hours before the performance if you have to self-isolate. |
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Post by lynette on Oct 3, 2020 17:17:17 GMT
Computer generated vid of the new seating on the t’internet. Now in the round. Excellent. Will be a big improvement in that space. I wonder if they have splashed out on new seats? Anyone know?
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Post by NeilVHughes on Oct 3, 2020 18:02:32 GMT
lynette would have thought they are likely to be the Dorfman ones as they can be set up in many configurations and will not cost anything.
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Post by lynette on Oct 3, 2020 18:07:21 GMT
I thought it was going to be in the Olivier.
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Post by NeilVHughes on Oct 3, 2020 18:53:47 GMT
lynette it is in the Olivier but as the Dorfman seats are not permanently mounted they would be relatively easy to set up there rather than buying or renting additional seating. All depends on how they are going to be affixed to the stage but that would be a problem for any seating. Could be wrong but any other seating would be a waste of money especially with the redundancies that have been initiated.
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Post by dannimaria on Oct 3, 2020 21:14:19 GMT
Managed to nab 2 tickets to this for a Saturday matinee in November. Haven't been to The National since Hansard and I'm so pleased my first visit back to the Theatre will be there.
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Post by n1david on Oct 5, 2020 10:20:42 GMT
Giles Teresa is out, emergency surgery. Part to be played by understudy Michael Balogun
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Post by Forrest on Oct 5, 2020 11:54:02 GMT
I failed to catch an affordable ticket for this, and now there are only pricey ones left. Fingers crossed they release a few more nearer the date(s).
My first thought re: understudy was - Meh. However, on second though, I am actually finding it kind of cool that a lesser known actor will get his chance as the first post-lockdown performer on the *big* stage of the NT. (Of course, I feel bad for Terera, as I am sure he must be devastated and I'm convinced he would have been excellent, but that's life...)
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Post by lynette on Oct 5, 2020 15:49:17 GMT
I failed to catch an affordable ticket for this, and now there are only pricey ones left. Fingers crossed they release a few more nearer the date(s). My first thought re: understudy was - Meh. However, on second though, I am actually finding it kind of cool that a lesser known actor will get his chance as the first post-lockdown performer on the *big* stage of the NT. (Of course, I feel bad for Terera, as I am sure he must be devastated and I'm convinced he would have been excellent, but that's life...) Yes, this is a story waiting for the media to grab with both hands. Let’s hope the NT gets it out there. |
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Post by Dave B on Oct 20, 2020 9:42:52 GMT
Rush tickets are confirmed and available from this Friday at 1pm.
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Post by zahidf on Oct 21, 2020 15:05:25 GMT
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Post by tmesis on Oct 24, 2020 12:18:34 GMT
I saw this last night.
I really enjoyed the original Death of England but I found this pretty average in comparison. Maybe it was Rafe Spall fabulous, charismatic performance that really sold the original play to me but that was quite cleverly structured with a clear narrative development. The 'sequel' just sprawls and feels every one of its 80 minutes.
Michael Balogun does a good job, and although we should make some allowances for the fact it's still in preview, and he wasn't the actor originally cast, I thought he would have been more on top of the part as the official understudy - last night he needed five prompts.
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Post by theatrelover123 on Oct 26, 2020 22:35:35 GMT
What a shame. About 20 minutes of good material in 90 mins of a show. Little drama. Little interest. Not much that hadn’t been said several times and places before. Death of England had a lot more nuance than this. Well performed in the main. I think there are more laughs to be gained from it and Michael needs to slow down and not gabble as much. But it’s an impressive achievement to hold the stage for that long, given the circumstances. Rufus came on at the top and gave a rousing speech. Seemed to well received but my feeling (based on responses throughout) is that the warm response was more for the performance rather than the material.
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Post by edi on Oct 27, 2020 9:38:36 GMT
Stalls Row E seats are horrible, utterly claustrophobic behind a wall, restricted view and legroom.
I never saw the original one and I would't have gone to see it if it were not for the limited availability of life performances. A 90 mins monologue unlikely to keep my attention. Unfortunately this was exactly the case with Delroy, I enjoyed it at times when I was engaged with the story but other times I completely lost it. Maybe because it was delivered at a very fast pace, once I lost my attention I couldn't get back to it until the actor moved onto the next scene.
There is a youtube video about Michael, about him spending time in prison, and knowing that background made the play very authentic to me.
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Post by Dave B on Oct 27, 2020 16:32:24 GMT
I had a single Rush ticket. Row DD, so the second row on the new stage. A lot of space, a lot of legroom(!) but not the most comfortable benches.
I enjoyed it .. mostly. I think it had a hard act to follow given Rafe Spall's performance. There's a different - even a lack of energy and I found myself, probably unfairly, comparing the two. That's not to say that Michael Balogun wasn't very good, as he was (but yes preview & understudy did mean needing lines a couple of times) and he got a very warm applause at the end and seemed quite touched by it.
It was an enjoyable night out and certainly happy with a Rush ticket for £10.
Also found the NT setup really good. 6.30-6.45 arrival on my ticket. I was there at 6.30 and plenty of staff directing you where to go, my drinks and programme on a table in the foyer. About 7.00 they started to move people in, taking certain rows and then seat numbers and putting a lot of effort into making the groups small enough to keep a distance. I was seated by about 7.10 and then on the way out, there were staff to slow people down and keep people for just a moment to let others filter out at a distance. I thought it was good work, I felt comfortable and safe throughout and would happily revisit under these conditions.
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Post by edi on Oct 31, 2020 20:53:49 GMT
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Post by andrew on Nov 4, 2020 21:07:54 GMT
Yeah my date has been cancelled, looks like I won't be seeing this. Doesn't look like it was essential viewing anyway, so I'll not feel too bad. What I find a bit puzzling is that a lot of the one-person-shows that have come out post-lockdown1 have been a bit disappointing (looking at things like Beat The Devil, etc). Surely theatres have their pick of the crop at the moment, why aren't they putting on absolute zingers? |
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Post by zahidf on Nov 18, 2020 10:33:35 GMT
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Post by Forrest on Nov 18, 2020 13:56:38 GMT
I have to say, that's very nice of them!
(And so instead of two theatre trips, my birthday week now includes an online seminar on Machiavelli and a NT live stream. Getting old isn't that bad, I guess...)
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Post by Forrest on Nov 28, 2020 11:14:13 GMT
Saw this last night and must say I did feel, as some have already pointed out, that it was slightly missing enough relevant content to keep it going for the full 90 minutes. It was also a good performance - especially given the length of it - but there was nothing about the play or the acting that I found particularly sparkling. It was a well rounded effort, yes, but for me personally not extraordinary or memorable in any way.
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Post by kathryn on Nov 28, 2020 14:49:41 GMT
Caught up with this today.
My brain did that awful thing of picking up small plot points and then picking at them distractingly throughout the play.
A problem of my suspension of disbelief, I know.
It went:
'So, why didn't he just get his colleague to drive him to the hospital?'
'Bailiffs always have to have official ID on them - it's pretty distinctive - and often end up working closely with police; looking at his ID should have calmed that situation down.'
'A woman in the middle of labour managed to give a socio-political analysis of his lifestyle? Really?!'
Eh, maybe being in an actual theatre would have helped my immersion in the piece. Sixty minutes in I was looking at Twitter.
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Post by Dr Tom on Nov 28, 2020 15:30:43 GMT
I don't know. I'm normally supportive of that style of play, but this one dragged.
It it is of its time.
That is not to say it isn't performed with great energy and passion. But I too got distracted by the plot holes and inconsistencies.
It is a shame as there are real problems in society which need addressing. I can often connect emotionally with people quite unlike me, but I felt nothing here, other than appreciation of the work from everyone involved with the production.
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Post by fossil on Nov 28, 2021 17:59:47 GMT
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Post by orchidman on Jul 26, 2024 22:00:53 GMT
Very dated, very 2020, borderline embarrassing, surprised Paapa Essiedu doesn't have something better to do with his time
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