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Post by og on Jul 15, 2023 6:23:14 GMT
I looked at the audio book for this. It’s 32 hours long.  Almost as long as the play! |
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Post by theatrefan77 on Jul 16, 2023 23:17:48 GMT
Saw it on Tuesday at the Savoy and enjoyed it as much as at the Harold Pinter. I was afraid the stage at the Savoy would be too big for this play, but they adapted it very well and it worked.
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Post by Forrest on Jul 17, 2023 9:58:07 GMT
theatrefan77, I'm so glad to read this, because I finally caved the other day and bought an (in my view) expensive stage seating ticket to see this. FOMO is an odd motivator! I did find the book interesting (I wanted to say i "liked" it, but it's not really the sort of thing that one can "like", is it, given the subject matter? I did finish it in record time, though), but am admittedly intimidated by the length of the play. But - let's see...
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Post by max on Jul 17, 2023 21:46:32 GMT
theatrefan77 , I'm so glad to read this, because I finally caved the other day and bought an (in my view) expensive stage seating ticket to see this. FOMO is an odd motivator! I did find the book interesting (I wanted to say i "liked" it, but it's not really the sort of thing that one can "like", is it, given the subject matter? I did finish it in record time, though), but am admittedly intimidated by the length of the play. But - let's see... I found the onstage seats to be a brilliant experience - felt like VIP treatment. FOH staff very efficient and friendly, a bar laid on specifically for that onstage audience, and more comfortable seating than most trad theatre seats. More important, it was like watching a studio production up close. The actors are mic'd and they'd need to be to play it so casual and real, without foghorn voice projection that just can't support that kind of realism. Even so, it's quite something to appear a detailed studio production to the onstage seated audience, and also play to the top of the upper circle (I wonder what it's like from up there). I went on an evening that had already had a matinee. So after two 3hr 40min stints onstage (of very demanding and exposing material), there are also metal barriers outside and a minder informing stagedoor fans of what the cast will and won't do when they come out to meet the audience. That's some work day for the cast! |
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Post by theatrefan77 on Jul 17, 2023 23:30:42 GMT
theatrefan77 , I'm so glad to read this, because I finally caved the other day and bought an (in my view) expensive stage seating ticket to see this. FOMO is an odd motivator! I did find the book interesting (I wanted to say i "liked" it, but it's not really the sort of thing that one can "like", is it, given the subject matter? I did finish it in record time, though), but am admittedly intimidated by the length of the play. But - let's see... I saw it on stage at the Harold Pinter and from Stalls front row at the Savoy. Both views were great. I'm sure you will 'enjoy' -not the right word for this play, I know- the on stage experience. Being so close to the actors and seeing their facial expressions is really amazing. |
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Post by distantcousin on Jul 20, 2023 18:39:48 GMT
I think generally women are more drawn to these types of books and plays. How many women love watching true crime stuff! I'm a sucker for hurt/comfort things so it doesn't surprise me that there are a lot more women than men who want to go and watch it. It wasn't until reading the book after seeing the play that I realised how much was missing. JB's drug problem isn't very well addressed and the first time I saw it I thought he was a dramatic idiot who wanted attention, but reading the book you see how Jackson gets between him and his friends and there's a whole storyline there. That's not even mentioning that Malcolm and Harold are married in the book and Harold's wife especially features a fair amount and it gives Jude parents rather than a father. The acting is absolutely incredible, James Norton being able to switch from child to adult in an instant is seriously impressive, I hope he gets nominated and wins anything he's eligible for. Elliot Cowan is also bloody brilliant, playing all the baddies but making it completely clear that they are all different characters.
Interesting what you say about this being more attractive to female audiences - which is a shame (that it doesn't draw as many guys in) - especially because it's such a male led play.
reminds me something that a very experienced TV writer said on a podcast "men are interested in the 'what'. Women are interested in the 'how'" - generalising obviously, but there are definitely differences in the way the sexes interpret drama.
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1,995 posts
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Post by distantcousin on Jul 20, 2023 18:41:57 GMT
theatrefan77 , I'm so glad to read this, because I finally caved the other day and bought an (in my view) expensive stage seating ticket to see this. FOMO is an odd motivator! I did find the book interesting (I wanted to say i "liked" it, but it's not really the sort of thing that one can "like", is it, given the subject matter? I did finish it in record time, though), but am admittedly intimidated by the length of the play. But - let's see... I found the onstage seats to be a brilliant experience - felt like VIP treatment. FOH staff very efficient and friendly, a bar laid on specifically for that onstage audience, and more comfortable seating than most trad theatre seats. More important, it was like watching a studio production up close. The actors are mic'd and they'd need to be to play it so casual and real, without foghorn voice projection that just can't support that kind of realism. Even so, it's quite something to appear a detailed studio production to the onstage seated audience, and also play to the top of the upper circle (I wonder what it's like from up there). I went on an evening that had already had a matinee. So after two 3hr 40min stints onstage (of very demanding and exposing material), there are also metal barriers outside and a minder informing stagedoor fans of what the cast will and won't do when they come out to meet the audience. That's some work day for the cast!
Same! We thought they were an absolute bargain - especially given the VIP treatment, and compared to goodness knows what those people in the stalls facing us had coughed up!
The only slightly frustrating thing was that 90% of the time the actors "played to the front" - which was to be expected anyway.
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Post by iwanttix on Jul 20, 2023 20:19:56 GMT
In my experience of going to see this play, I didn't necessarily notice more women in the audience, but I do understand why men might not be too keen to see it.
The stage seats at the Savoy does make it feel more special than the ones at the Pinter. The bar is a added bonus, although it doesn't feel big enough and the solo toilet is a mare to get to in the interval unless you're quick to get out (which luckily we were sat on the correct side). Also for anyone who wants to do the stage door after - the exit for the stage seats literally take you straight there.
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Post by solotheatregoer on Jul 20, 2023 22:24:02 GMT
I saw this for the third time yesterday and I have to say the more you see it and know what’s coming, the far less impactful it becomes. I know this has been a long run and the cast are still doing a great job but it did feel a little mechanical and a little overacted in places actually. They must all be exhausted.
I still love this production but I think I’m ready to say goodbye to it now.
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Post by sweets7 on Jul 21, 2023 8:29:38 GMT
I saw this for the third time yesterday and I have to say the more you see it and know what’s coming, the far less impactful it becomes. I know this has been a long run and the cast are still doing a great job but it did feel a little mechanical and a little overacted in places actually. They must all be exhausted. I still love this production but I think I’m ready to say goodbye to it now. That’s just a process of seeing things lots of times. You know what’s coming. Groundhog Day. And every night is necessarily different and every audience too. The first time is always going to be more special. |
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Post by londonpostie on Jul 21, 2023 9:17:53 GMT
Fwiw, I found it difficult to engage with such extreme artifice. I guess as a shock piece of art it has currency - which I would imagine the source material has - but, if you're looking for a reasonable intelligent theatrical experience, this didn't work for me.
Had this been based on events then you might have the choice between, say empathy or shame (your shame, for the voyeuristic nature), and found that dichotomy challenging. But it's entirely made up, to shock for the purpose of shocking. It felt superficial and vapid, merely a platform to sell units. And now seat bookings. Though, if you want a fake-shock experience, have at it.
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Post by iwanttix on Jul 21, 2023 12:14:27 GMT
I saw this for the third time yesterday and I have to say the more you see it and know what’s coming, the far less impactful it becomes. I know this has been a long run and the cast are still doing a great job but it did feel a little mechanical and a little overacted in places actually. They must all be exhausted. I still love this production but I think I’m ready to say goodbye to it now. I've seen it a good few times and I find myself crying at different parts each time. I know what's to come but it still has a huge impact on me. But I understand why and how it doesn't for everyone, any other play I might feel the same. |
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Post by A.Ham on Jul 21, 2023 13:14:48 GMT
I’ve just tracked down a cheap(ish) ticket for tomorrow’s matinee as having seen this at the Pinter at the end of April, and reading the book at the moment, I didn’t want to miss another chance to see it whilst I still can. There’s only two more weeks at the Savoy - and then hopefully a long holiday for them all.
Wondering if it’ll affect me in the same way, or differently, but looking forward to sitting front of house, next to the string quartet. At the Pinter I sat on-stage so I’m excited to see how it differs watching from the front.
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Post by iwanttix on Jul 21, 2023 14:17:31 GMT
I’ve just tracked down a cheap(ish) ticket for tomorrow’s matinee as having seen this at the Pinter at the end of April, and reading the book at the moment, I didn’t want to miss another chance to see it whilst I still can. There’s only two more weeks at the Savoy - and then hopefully a long holiday for them all. Wondering if it’ll affect me in the same way, or differently, but looking forward to sitting front of house, next to the string quartet. At the Pinter I sat on-stage so I’m excited to see how it differs watching from the front. I had only been on stage at the Pinter so was excited to get a cheap seat at the front of the stalls. The different view makes a big difference- seeing their faces when you'd have only seen them from the back before - particularly when jude is blowing out his birthday cake candles. |
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Post by A.Ham on Jul 23, 2023 11:46:26 GMT
So I’ve absolutely no regrets about paying a second visit to this yesterday!
What an incredible afternoon - I was a mess by the end, I think I cried more than I did the first time. So glad I decided to go again before the Savoy run ends. Was sat in the stalls this time (row A close to the string quartet) so it was wonderful to see it all from the front rather than from the stage (although I loved both experiences equally). As iwanttix said, the moment with Jude blowing out the candles on his birthday cake was played out right in front of me.
I think as I’ve been slowly reading the book since I saw it in April, the characters and relationships meant even more this time around, and filled in small gaps in the plot that perhaps didn’t make complete sense (or I didn’t appreciate the background to) when I first saw it. In fact I cried more at the happy moments when Jude is surrounded by love (because of how much he’s gone through to get there) than I did at the more graphic scenes when he’s suffering.
The connection between the actors too is an absolute pleasure to watch as well, and my wonder at how they do this night after night and twice on some days remains. Yes it’s a tough watch, and I wondered if I’d react to it in the same way knowing what was coming, but I ‘enjoyed’ it just as much and am so pleased I went back. Now to find me a man who looks at me the way Willem looks at Jude!
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Post by iwanttix on Jul 23, 2023 13:12:55 GMT
I'm so glad that you found it worthwhile going to see it again. The worry always will be that it won't have the same impact but it really does. It's also a good idea to see from the stalls as well as the stage, the different view brings something else to the party. I read the book after the third time of seeing the play and it really did help to fill in some of the blanks - JB in particular cos it feels like his drug storyline isn't very well represented in the play.
I have a ticket in row AA this week, it popped up a while ago for £35 and I couldn't resist. I do worry how much I'll miss when Jude is laying on the stage but for that price I don't mind taking the chance.
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Post by Forrest on Jul 23, 2023 18:11:10 GMT
I saw this yesterday, from my comfy stage seat, and I have to admit I liked it more than I anticipated.
I know there have been complaints here about how the play skips some of the parts of the novel and/or some characters, but - having read the novel before seeing the play - to me it felt kind of the opposite: I thought they did a great job of telling us all the pieces of the puzzle crucial for understanding the story, without falling into the trap of being a bit of a pity party, that I felt the book was in places. I ended up liking the play more than the book!
The actors did a fantastic job. Someone mentioned that they were amazed at how both Norton and Cowan changed their age/characters, and I could not agree more, they were both amazing. I also loved Thompson as Willem, who played the part of the overprotective friend and then lover so endearingly from the first moment.
To me, perhaps because I knew what was coming from the book, the violence wasn't too much. Perhaps I would have appreciated a "metaphor" in place of the actual cutting, but I didn't feel the urge to look away.
My problem with the book, which also then reflects on the play, although neither the director nor the actors are to blame, is that I feel like it promotes an almost unhealthy idea of love and protectiveness over someone who gives so little in return; the idea that bending over backwards with no questions asked (literally, in this case) is somehow noble. The play-Jude actually seemed like a nicer character than the book-Jude, because we get less of him overall, although, for me, the problem persists in both.
But I found it to be a really thought-provoking experience, and I am absolutely glad that I decided to splurge a little to go.
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Post by intoanewlife on Jul 23, 2023 21:12:06 GMT
I saw this yesterday, from my comfy stage seat, and I have to admit I liked it more than I anticipated. I know there have been complaints here about how the play skips some of the parts of the novel and/or some characters, but - having read the novel before seeing the play - to me it felt kind of the opposite: I thought they did a great job of telling us all the pieces of the puzzle crucial for understanding the story, without falling into the trap of being a bit of a pity party, that I felt the book was in places. I ended up liking the play more than the book! The actors did a fantastic job. Someone mentioned that they were amazed at how both Norton and Cowan changed their age/characters, and I could not agree more, they were both amazing. I also loved Thompson as Willem, who played the part of the overprotective friend and then lover so endearingly from the first moment. To me, perhaps because I knew what was coming from the book, the violence wasn't too much. Perhaps I would have appreciated a "metaphor" in place of the actual cutting, but I didn't feel the urge to look away. My problem with the book, which also then reflects on the play, although neither the director nor the actors are to blame, is that I feel like it promotes an almost unhealthy idea of love and protectiveness over someone who gives so little in return; the idea that bending over backwards with no questions asked (literally, in this case) is somehow noble. The play-Jude actually seemed like a nicer character than the book-Jude, because we get less of him overall, although, for me, the problem persists in both. But I found it to be a really thought-provoking experience, and I am absolutely glad that I decided to splurge a little to go. Is the stage seating raked at all? I think I'm in the back row and am a bit worried now that not only am I going to have to look at actors backs for 4 hours, but I may also be looking at the back of some tall persons head... |
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Post by A.Ham on Jul 23, 2023 21:28:10 GMT
Yes, it’s raked. There’s a good step up between each row. And I rarely felt as though I was watching backs of heads for long at any point. It’s a great view I promise!
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Post by intoanewlife on Jul 23, 2023 21:32:11 GMT
Yes, it’s raked. There’s a good step up between each row. And I rarely felt as though I was watching backs of heads for long at any point. It’s a great view I promise! Excellent news! Thanks for your swift reply! |
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Post by iwanttix on Jul 23, 2023 23:26:11 GMT
The stage seating is great because there is a step up between each layer. Unless you get stuck behind the tallest person in the world who was straddling two 'seats' because there was an empty one and their head was completely in the way for Jude and Willem on that dodgy sofa... but that's just my luck and that isn't a usual problem. My last on stage seat is in the last week and I'm actually sitting on the other side - all my seats so far have been on the side of JB & Malcolm's area, but this one is by th3 medical area/kitchen.
Something I remembered about my last visit - JB had completely painted over the face of the painting of Malcolm he was working on and was painting it in again. I wonder how many times Omari has painted and repainted pictures. At the Pinter they were different pics entirely.
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Post by Rory on Jul 26, 2023 7:45:53 GMT
A piece in the Times theatre newsletter says that if you have a seat onstage and miss the 6.30pm deadline to be there, you may not get in.
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Post by sweets7 on Jul 26, 2023 8:26:31 GMT
A piece in the Times theatre newsletter says that if you have a seat onstage and miss the 6.30pm deadline to be there, you may not get in. I presume because of the half hour call and the actors will begin to be called to the stage etc. they do come on stage before 7pm. In a rota. James is last on. you can’t have them wandering around and still getting people to their seats. |
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Post by dillan on Jul 26, 2023 8:56:44 GMT
A piece in the Times theatre newsletter says that if you have a seat onstage and miss the 6.30pm deadline to be there, you may not get in. I've been lucky enough to see this twice on stage at Pinter and three times on stage at The Savoy (I actually sat onstage yesterday!) and yes - this is correct in terms of the timings. At the Pinter, they really didn't care, I sat on stage at 6:59pm once and it was fine. Last week when I went at The Savoy, people next to me were talking about how 2 of their friends didn't get let in because they missed the 6:30pm deadline (I think it's more like 6:35-6:40pm) but they're far more strict at The Savoy than the Pinter. I think it's for 2 reasons: - The Savoy onstage seats have double the amount compared to the Pinter so it takes longer to get everyone on the stage - The Savoy is a larger theatre and it takes longer to walk down to the onstage seats/bar compared to the Pinter where you literally just walked through the front door and were 30 seconds away from the seating |
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Post by craig on Jul 26, 2023 17:14:23 GMT
We're seeing this from onstage seats on Saturday at the matinee performance and the info from ATG hasn't been that clear really... Do we have to go anywhere specific or is it the idea that you're there so early all the onstage people have been identified?
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