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Post by n1david on Feb 3, 2023 12:04:11 GMT
There are certainly Mescal fans going along. When I was at the Almeida as soon as the lights went up the two women sitting next to me nudged each other and whispered loudly "he's over there, on the left". They were quiet for the duration of the play however and I got the impression they did get caught up in the play rather than watching the star. Which is, I suppose, the goal of the Almeida to introduce people to serious theatre even if they only come to see the star (I expect the producers of 2:22 are taking the same approach in introducing people to serious theatre...)
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Post by stevemar on Feb 3, 2023 12:25:48 GMT
Paul Mescal has a very devoted fanbase following his excellent portrayal in Normal People. I don’t think audiences have been drawn to this play because of the character Stanley, but it’s great when an actor takes the audience to another place, here much darker and possibly unexpected for their fans.
Yes, he takes his clothes off, and fans of his muscular body will be satisfied. I don’t think opening up to different or new audiences/fandom is an issue. After all, unless fully subsidised, theatre needs an audience.
In fact i think a diverse audience is more than welcomed. The Almeida has I think been particularly successful in attracting more diverse audiences - this is anecdotal based on Macbeth, Spring Awakening, Patriots and Tammy Faye in the last year.
Other examples I’ve seen are the devoted fans that accompanied Tom Hiddleston in Coriolanus or Richard Armitage in The Crucible.
Interesting point about serial killers. It “helps” sell a film or programme when a criminal is good looking, as it draws in audiences and likely turn convention (“ugly” loner serial killers) on its head.
James Norton in Happy Valley or Jamie Dornan in The Fall are obvious examples here in the UK, and despite many TV and theatre appearances James Norton’s Tommy Lee Royce seems his most successful part (again timed well to sell tickets in A Little Life on stage).
There is a fascination with serial killers which I definitely get, but someone like Dahmler because of his gruesomeness appears to hold more interest that someone like Harold Shipman. Despite the psychological interest in all, I think many people are more interested in younger better looking assailants and victims than older ones, and that reflects society generally.
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Post by Jon on Feb 3, 2023 13:01:46 GMT
Stanley in Streetcar has always been cast with actors who are fairly attractive like Marlon Brando, Ben Foster etc in the past.
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Post by crowblack on Feb 3, 2023 13:49:11 GMT
In fact i think a diverse audience is more than welcomed. The Almeida has I think been particularly successful in attracting more diverse audiences - this is anecdotal based on Macbeth, Spring Awakening, Patriots and Tammy Faye in the last year. Other examples I’ve seen are the devoted fans that accompanied Tom Hiddleston in Coriolanus or Richard Armitage in The Crucible. Interesting point about serial killers. It “helps” sell a film or programme when a criminal is good looking, as it draws in audiences and likely turn convention (“ugly” loner serial killers) on its head. James Norton in Happy Valley or Jamie Dornan in The Fall are obvious examples here in the UK I totally agree about using a star name with a fanbase to introduce new audiences to theatre. My comment was more about the way fans consume things these days, in the era of Tiktok clips and pause and replay. It'll be interesting to see how a new audience used to an 'on demand' form of viewing respond to seeing a story that can only be told in one linear way. On the TV casting issue, I'm uneasy about the suave, handsome actors as rapist murderous villains trend. It does glamourise them, and it's the one flaw in Happy Valley, I think (I appreciate Stanley is meant to be hunky - it's not a comment on Streetcar). |
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Post by Steve on Feb 4, 2023 23:42:27 GMT
Saw the last show at the Almeida, and it was so good that I'm crying that the West End transfer is sold out (just joking, I'd love to go again but I appreciate what I've already had) just like I was crying when the lights went down (not joking, I was in floods). I duly changed my 4 star preview assessment to a 5 star assessment cos tonight was theatrical perfection. Give Patsy Ferran and Rebecca Frecknall the Olivier already! And nominate Paul Mescal and Anjana Vasan, as well, why don't you lol?  Some spoilers follow. . . I mean, Paul Mescal's Stanley calls Patsy Ferran's Blanche a "canary bird" and it felt just right for this production. Not just cos she's trapped like a canary. Not just cos she sings her memory of her lost love like a canary. But also cos birds are so aware of being watched. If you so much as look at a wild bird, that doesn't know you, it immediately flies away. And every single offstage character are staring poor Patsy Ferran down, so threateningly, from the sidelines, I couldn't help feel how badly she needed to fly away, and how sadly she couldn't. Blanche calls Stanley an "ape," but Paul Mescal's Stanley is way scarier than an ape. He's like a cat, stalking that canary all round that stage, watching calmly and craftily, the way cats do before they pounce. One great strength of the production is how judicious the production is about establishing how dangerous Mescal's Stanley is. He makes so few fast moves but when he does, they are so fast and violent, like a great big cat. (In preview, these movements were restricted, cos Ferran was carrying her book, and Mescal couldn't risk knocking it out of her hands lol). Maybe Mescal's Stanley is most like a Lion, cos at one point, all the characters bar Blanche (including Dwane Walcott's Mitch, who likes her, and even Vasan's Stella, her sister) all stand behind Mescal, as he smirks at Blanche, like they are all part of his pride. The incessant drumbeats that signal danger would scare any real birds away, but like a canary, Ferran's Blanche is ever alert to this danger, but is too caged by circumstances to run. The whole theatrical experience was overwhelmingly powerful, for me, in the Almeida tonight. All the actors were so wonderful in their roles, working so well in sync, the sound effects and lighting and pacing all so intense. What a great great show! 5 stars from me, without a doubt! |
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Post by Latecomer on Feb 5, 2023 8:38:35 GMT
I got to see this at the matinee (thank you so much dannimaria!) and thought it was fab. All 3 leads are 😊 but the way Patsy Ferran just LAUNCHES into those Tennessee Williams speeches is awesome. She constantly moves her hands and her diction is so precise but she delivers with power and speed like a runaway train that is both out of control and yet completely sure of herself. And when she talks about her past her vulnerability just makes you understand that she has lived her life the only way she thinks she can.
There were a couple of directional choices that I was not fond of (these are just personal taste and I’m quite a jaded theatre goer so my little head goes “oh really? Now we have x”, so I think that is my problem!) but I swear I would pay 💰 to watch Patsy Ferran in anything.
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Post by mrnutz on Feb 5, 2023 8:59:50 GMT
I saw the matinée yesterday and WOW - what a production.
Patsy Ferran is absolutely incredible, and Mescal prowls around like a huge, muscular animal, frequently wrapping himself around the other characters like a giant spider.
An extremely intense watch, and I loved the use of the drums.
It gets the full five stars from me!
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Post by mrnutz on Feb 5, 2023 10:52:09 GMT
I saw the matinée yesterday and WOW - what a production. Patsy Ferran is absolutely incredible, and Mescal prowls around like a huge, muscular animal, frequently wrapping himself around the other characters like a giant spider. An extremely intense watch, and I loved the use of the drums. It gets the full five stars from me! Also - I'm intrigued to hear how this will be staged in the Phoenix. I fear it will lose a huge amount of its threat and intensity by removing the proximity of audience to performers. |
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Post by londonpostie on Feb 5, 2023 14:33:58 GMT
It's not a production that needs a deep set - about 6 or 7 paces each side. If you brought it to the very front, that could help in a couple of respects.
How many actually sat in 'the round' (as opposed to regular seating), not many. From a practical pov not sure it's a big issue.
From an artistic pov - and to continue the point about openness and 'not behind closed doors' - Frecknall obv. likes the vibe of the cast being witness to most events, and she reinforces that with a rounded audience. Maybe there is space to squeeze in a row or two on stage at the Phoenix. Unusual and maybe impractical but, given the artistic emphasis, she might want to if possible ..
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Post by Deleted on Feb 5, 2023 14:37:39 GMT
I love all the raves for Ferran given some of the skepticism (mostly mild if I recall correctly) about her selection to substitute in the role.
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Post by Being Alive on Feb 5, 2023 15:27:31 GMT
I caught the final matinee and it's a solid 4 stars.
Ferran is (as expected) terrific - I did spend the show wondering how much of her Blanche is the one she would have discovered if she'd been in the rehearsals from the beginning, and how much of it was the one Lydia Wilson was doing and thus she had to step into - either way she is as ever, nothing less than great.
I liked Paul Mescal but thought the star of the show really was Anjana Vasan - I've never really felt Stella was an equal third, but Vasan really makes the case for it being a leading trio.
hated the drummer with a passion (we get it, something bads gonna happen we don't need percussion) and a couple of production bits hampered it to keep it at 4 stars for me.
Fascinated to see how this will be restaged in a traditional set up.
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Post by theatrefan77 on Feb 6, 2023 0:51:34 GMT
They will hopefully add onstage seating
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Post by Mark on Mar 9, 2023 14:40:51 GMT
Extra week added and additional tix on sale tomorrow!
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Post by A.Ham on Mar 9, 2023 14:57:53 GMT
Looks like it’s Monday, but good news for anyone still trying to get tickets!
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Post by Mark on Mar 9, 2023 15:56:18 GMT
Looks like it’s Monday, but good news for anyone still trying to get tickets! Oops I misread! Monday indeed. |
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Post by mattnyc on Mar 9, 2023 19:33:39 GMT
Will members have a chance to buy first?
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Post by londontg on Mar 9, 2023 20:25:18 GMT
Will members have a chance to buy first? Those who signed up to mailing list are apparently entitled to buy tickets two hours earlier, but not sure about ATG members. |
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Post by mattnyc on Mar 9, 2023 20:47:21 GMT
I meant Almeida members. We got early access to tickets for the transfer but I missed out on them. Didn’t know if we’d get the same option and didn’t see anything on their website. I emailed to ask so if I hear, I’ll post here.
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Post by mattnyc on Mar 9, 2023 21:21:02 GMT
No member presale  |
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Post by londontg on Mar 10, 2023 19:09:33 GMT
No member presale Sent you a message 😊 |
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Post by bordeaux on Mar 11, 2023 12:45:07 GMT
New tickets released Monday 11 am. Email to arrive from ATG at 10.30. 13,000 tickets available, some for the extra week in May, some for existing performances now they know the set design.
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Post by Rory on Mar 11, 2023 14:02:51 GMT
So no advance booking for ATG cardholders then? Seems odd when there was for the initial 6 weeks. Or is that what the 10.30 email from ATG is?
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Post by mattnyc on Mar 11, 2023 16:29:23 GMT
I think the email is just the link to put you in the virtual waiting room to be assigned your random number.
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Post by Rory on Mar 11, 2023 16:43:50 GMT
I think the email is just the link to put you in the virtual waiting room to be assigned your random number. Thanks, that what I thought too, which means no pre sale for ATG cardholders. |
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Post by theatregoer22 on Mar 12, 2023 14:31:49 GMT
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