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Post by joem on Sept 10, 2017 21:19:17 GMT
Anyone got their tickets for this? A Brenton world premiere, starring Jasper Britton and Susannah Harker and the Jermyn Street vowing to become a full-time producing theatre. Exciting times?
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Post by Snciole on Sept 12, 2017 12:54:51 GMT
I know this isn't the point of the thread however they do incredible work at Jermyn Street but it is so expensive for space and reputation, despite being in the West End it isn't a West End theatre.
I don't mean to dismiss their accessible schemes, like cheap tickets for under 30s, but I wish it would at least consider a more tiered pricing structure.
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Post by showgirl on Sept 12, 2017 12:56:16 GMT
Plus you can't choose your own seat!
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Post by Polly1 on Sept 13, 2017 14:30:48 GMT
This sounds interesting. Sorry to ask but, running time? I couldn't see it on the website. Thanks.
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Post by NeilVHughes on Sept 13, 2017 16:29:22 GMT
90 minutes, no interval.
Saw it m Monday, I was pleasantly surprised, went specifically to see Jasper Britton as not often you get to see an actor of his pedigree in such an intimate setting.
Subject matter on first impression could be seen as a bit dry but the interaction of Strindberg his two wives and the maid really brought it to life.
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Post by Polly1 on Sept 13, 2017 17:10:27 GMT
Thanks!
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Post by Mattie on Sept 15, 2017 13:08:19 GMT
I haven't seen the play, but for this at least I actually don't think the ticket prices are particularly high considering the location of the theatre and the calibre of the actors. Jermyn Street has also now committed to paying everyone at equity rates, which is a huge achievement for an unsubsidised theatre of that size. Various other fringe venues can only keep their prices so low because actors and stage managers are not paid properly.
It will be interesting to see if other fringe theatres follow in this policy (and there may be some which do it already). We might see the emergence of more of an off-Broadway set of theatres that charge higher prices but produce their own work and pay performers (with the result that actors eschew the other fringe venues). There is definitely a place for venues like the Finborough which allow emerging companies to put on large cast plays (often excellent), but I have always thought that it would be nice to have more independent, small theatres that produce their own work and pay proper rates.
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Post by Deleted on Sept 15, 2017 15:13:11 GMT
Saw this last night and, as neilvh said, the main attraction is seeing some great acting in a very intimate environment.
I didn't know anything about Strindberg as a person, so this was an interesting insight (assuming it's based in fact). It's a very traditional play - it's not breaking any ground or doing anything you haven't seen a thousand times before. And there were times when the writing felt quite creaky. But as a character study (of him at least - the three women were stick figure cliches) it was engaging, there were some interesting themes explored intelligently and the two main actors really sold it. The wavering of his mind was done really well, to the extent that I started seeing his point of view and half-believing in demons and succubi, etc, and I liked the fact that I never quite knew if the wives were a delusion or really visiting him. And his problem with women (and his other prejudices) was conveyed very well, so you recoil from him and feel a bit grubby while still finding him sympathetic.
Worth 90 minutes of my life, would probably have over-stayed its welcome if any longer.
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Post by joem on Sept 15, 2017 23:23:44 GMT
The Jermyn Theatre has its problems, but its geographical location is firmly West End (which costs) and if it moves up a couple of notches by having actors such as Jasper Britton well... the punters are going to have to pay something for it. I am not sure the theatre has any public money and with the 70 seats or so it has it is dificult to see how it actually breaks even.
I wish them the very best.
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Post by orchidman on Sept 17, 2017 14:53:50 GMT
It is really a study of madness, which is something I tend to find pretty tedious and this lacks any real plot or drama. For a play about a playwright, I was expecting more insight into Strindberg than I felt was there.
Jasper Britton didn't have the charisma I felt was required and because of that I was never really sold on it, although maybe there just wasn't enough good material in the script for him to work with.
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Post by joem on Oct 14, 2017 22:34:21 GMT
Not the most engaging of Brenton's recent plays. I thought Jasper Britton and the rest of the cast were pretty good and the staging was a couple of notches up from older Jermyn Street efforts.
They were not helped by a member of the audience, who may have had mental problems, commenting loudly on the action which necessitated three stoppages before he was eventually removed. Much sympathy for the actors.
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Post by dlevi on Oct 15, 2017 3:29:30 GMT
I caught this play earlier this week and found it to be entirely what I thought/feared it would be: 90 minutes of histrionics about madness and the nature of creativity mixed with some awkwardly sandwiched in exposition about Strindberg's life and work. Brenton is a terrific playwright but here I think he was just treading water. The set was well-intentioned but badly executed and while Susannah Harker was giving a smart performance, Mr Britton's performance was one of those technical hysterical performances that one sees so often at the RSC. The less said about the other two somewhat fresh-from-drama school actresses the better. It all seemed so damned worthy and when it was over I really didn't feel as if I had learned anything about anyone. I hope Jermyn Street is able to up their game more successfully in the future.
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Post by Snciole on Oct 16, 2017 15:15:20 GMT
I haven't seen the play, but for this at least I actually don't think the ticket prices are particularly high considering the location of the theatre and the calibre of the actors. Jermyn Street has also now committed to paying everyone at equity rates, which is a huge achievement for an unsubsidised theatre of that size. Various other fringe venues can only keep their prices so low because actors and stage managers are not paid properly. It will be interesting to see if other fringe theatres follow in this policy (and there may be some which do it already). We might see the emergence of more of an off-Broadway set of theatres that charge higher prices but produce their own work and pay performers (with the result that actors eschew the other fringe venues). There is definitely a place for venues like the Finborough which allow emerging companies to put on large cast plays (often excellent), but I have always thought that it would be nice to have more independent, small theatres that produce their own work and pay proper rates. The issue I have is that clearly could be a more gradual system; starting at £15-18 (side seats) and moving up to £30-35 for the premium. To have to pay £30 regardless of where you sit, when there are good and bad sightlines is my issue and puts me off seeing some good and interesting plays there. Finborough's standard is £16, incredible value for what their programme offers and they are rewarded with good and loyal audiences in spite of/because of their location. There are room for those models but in a world where I can west end seats for £10 (Let's ignore the fact they are awful). The thing is people don't see Jermyn and National being all that different. It is just theatre, why can't they run the same way (Insert a million reasons why they can't here) I've only gone to press nights here so I don't know how well they sell usually outside of the preview period but their current pricing puts me off and I doubt I am the only one. That's assuming I hear about what is happening in the first place. Sorry to go so off topic. |
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Post by showgirl on Oct 16, 2017 18:25:34 GMT
Well said, Snciole - please can we either have a range of prices or "Choose your own seat" but preferably both. Maybe the new AD will deal with these issues in due course as there have been other changes already. |
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Post by NeilVHughes on Oct 16, 2017 18:50:56 GMT
Booked Miss Julie the other day and was initially offered A13, far end of the first row, to get a better seat continued to book single seats until I got a middle seat and then deleted the ones I didn’t want.
On the whole this is a great little Theatre only let down by the booking process.
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