#1
Posted: 3/13/15 at 6:24pm
Since previews are starting tonight, I thought I'd just start the thread here. Who's going tonight?
#2
Posted: 3/13/15 at 6:35pm
So excited for this! Mulligan is one of my favorites. Seeing it May 13th! If anyone sees it, please report. Also if anyone stage doors, report on that too. I'm hoping she comes out. :)
#3
Posted: 3/13/15 at 7:15pm
On my way now... Have no notion of what I'm walking into!
#4
Posted: 3/14/15 at 8:41am
Did anyone see it last night? If so, what did you think?
#5
Posted: 3/14/15 at 5:17pm
Set is beautiful - very reminiscent of the recent production of "This Is Our Youth". Pacing is fine but the actors seem a bit unengaged. I think they're still getting back into the swing of things. I'm hesitant to talk about it any further because I want them to have a fair chance to build and grow and adjust to American audiences.
Coincidentally I have tickets for a date later in the run and I'm hoping the energy picks up a bit. Perhaps I'll say more then. It's so hard to tell how these shows will shape up so early in the run!
Coincidentally I have tickets for a date later in the run and I'm hoping the energy picks up a bit. Perhaps I'll say more then. It's so hard to tell how these shows will shape up so early in the run!
#6
Posted: 3/14/15 at 5:26pm
What was the running time? Was the new (or unique to this production, I guess) Playbill design used? Thanks for sharing your thoughts!
#7
Posted: 3/14/15 at 5:35pm
I was at the dress so I didn't get a Playbill! I was hoping to be able to report back on that one. Sorry!
#8
Posted: 3/15/15 at 10:29pm
Someone please upload an image of the new Playbill! I'm dying to see it!
#9
Posted: 3/15/15 at 10:30pm
I've seen a few on Instagram if you search #skylightbroadway or something similar.
I think it looks like an amateur productions attempt at making a Broadway-style Playbill. Something about the way it is stapled as a booklet just looks off.
I think it looks like an amateur productions attempt at making a Broadway-style Playbill. Something about the way it is stapled as a booklet just looks off.
Updated On: 3/15/15 at 10:30 PM
#10
Posted: 3/20/15 at 11:13pm
I was at the preview this evening and I was absolutely captivated by this lovely play. The acting is top notch and the play not only gives one much food for thought, but is emotionally charged as well.
This was my first exposure to the piece. The entire play takes place in Kyra's (Mulligan) apartment over the course of one winter evening a few weeks before Christmas. She has two visitors that night that stir up past events and unhealed wounds, with Tom (Nighy) spending the majority of the time with her. The past is peeled back very slowly and spoiling it would ruin the fun. Though a revival, the lengthy discussions on class, wealth, the economy and education feel very relevant. Mulligan nails several monologues in act two, and her righteousness is expertly undercut by the nagging questions to the motivation why she has made the changes in her life that she goes on about.
Of course the proceedings aren't all heavy; Nighy is wildly funny and prompted many a big laugh from the crowd. He and Mulligan has developed quite a rhythm with each other and sometimes they forget to pause long enough for the laughter to subside before jumping into the next verbal volley. I realize they don't want to let the pace lag, but they've got to take some break or the beginning of the next line is lost.
Stephen Daldry has bestowed two gems on us this season; both shows easily rank as two of my favorites and I hope the recognition that both are due come rolling in as nominations for award season are soon announced. Daldry's direction isn't flashy, but it's effective and really it's all about the performances he helped mold and his allowance for the text to be one of the stars as well.
I was quite moved and my friend and I agreed that this was an excellent way to spend an evening in the theater.
This was my first exposure to the piece. The entire play takes place in Kyra's (Mulligan) apartment over the course of one winter evening a few weeks before Christmas. She has two visitors that night that stir up past events and unhealed wounds, with Tom (Nighy) spending the majority of the time with her. The past is peeled back very slowly and spoiling it would ruin the fun. Though a revival, the lengthy discussions on class, wealth, the economy and education feel very relevant. Mulligan nails several monologues in act two, and her righteousness is expertly undercut by the nagging questions to the motivation why she has made the changes in her life that she goes on about.
Of course the proceedings aren't all heavy; Nighy is wildly funny and prompted many a big laugh from the crowd. He and Mulligan has developed quite a rhythm with each other and sometimes they forget to pause long enough for the laughter to subside before jumping into the next verbal volley. I realize they don't want to let the pace lag, but they've got to take some break or the beginning of the next line is lost.
Stephen Daldry has bestowed two gems on us this season; both shows easily rank as two of my favorites and I hope the recognition that both are due come rolling in as nominations for award season are soon announced. Daldry's direction isn't flashy, but it's effective and really it's all about the performances he helped mold and his allowance for the text to be one of the stars as well.
I was quite moved and my friend and I agreed that this was an excellent way to spend an evening in the theater.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
#11
Posted: 3/20/15 at 11:25pm
Surprised you liked it so much Whizzer. It starts out quite promising, but ultimately I didn't find it engaging, emotionally or intellectually. The social issues discussion felt so heavy handed, and not ultimately connected to the story in a very meaningful way. I meant it IS connected, but it felt so superficial. I like Nighy and Mulligan as actors very much but didn't find either of them great. In fact, I think Matthew Beard gives the best performance, albeit in a much smaller role.
#12
Posted: 3/21/15 at 12:12am
I saw the show in London and fell in love with it. Despite the dramatic nature, Nighy is wickedly funny. I can't wait to see this later in the spring. I think Nighy and Mulligan are nomination-worthy and in a season where most play revivals are long closed, I think this stands a chance of getting a nod.
#13
Posted: 4/2/15 at 2:03am
Saw this tonight and loved it. Nighy was brilliant and funny and seemed to prowl around the stage, especially in the first part of the play. I thought Mulligan was magnificent, and really came into her own in the second part of the play (after intermission). I thought they were really fully realised characters, and although they represented different societal attitudes I didn't think it devolved into didacticism. Hope to see it again.
#14
Posted: 4/2/15 at 4:41am
"Mostly, I loved the size of these people's emotions. Nobody has emotions this size anymore. Outsized emotions. Operatic emotions. Kushemski and Vanda are like Tristan and Isolde, they're Paolo and Francesca. Nobody's in total thrall like this anymore. Nobody's overcome by passion like this, or goes through this kind of rage." Thomas, Venus in Fur
#15
Posted: 4/4/15 at 3:00pm
For this production would it be better to sit in Orchestra Center Row P or closer to the stage but on the side? Thank you!
#16
Posted: 4/5/15 at 10:37am
I saw it yesterday from the 2nd row of the front mezz, and it was totally fine. While I'll admit I couldn't see every little detail of the staging and costumes, those aren't really the reason to see this play.
On the other hand, Nighy and Mulligan use the entire stage. She often stands in the kitchen to the far right, and there is a tender scene on the extreme left of the stage at one point as well. They also use the back of the stage frequently, which could easily be obscured if you were sitting too far to the side.
So for my money, take the orchestra seats in row P.
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