Therese Raquin Previews — Page 3

I don't think the classics rule will apply to this production. The text is completely new.

If if someone wrote a new rock musical about the last days of Christ would we call it a revival because Jesus Christ Superstar exists? The story might be old, but this play is not.

I was surprised to see that she signed autographs and greeted fans at the stage door last night. I thought the earlier incident might scare her off from approaching fans after the show. Good to see that she appears to be unfazed by what happened and is just carrying on.

It beats others stalking the board with the sole purpose of ripping into others for no reason. This is just my opinion of course.

Around 2:40, it said earlier in the thread.

Just got home from tonight's performance. There were things I enjoyed, but I largely left feeling slightly uninspired, mostly because of the adaptation. I think because the "plot" of the story is all things we've seen before, it really takes vibrant characters, and/or unique stylization of language, acting, or direction to make this material have true impact.

Loved the design elements, and thought the actors were essentially strong and did well with what they had to work with. Especially the supporting characters who really did feel full of life. I did enjoy Ebert quite a bit.

I'm a big Knightley fan, and she felt professional, and a natural onstage. But I think she would really knock this out of the park on screen. Her features are so striking, and she has such a gift to radiate both warmth and chill. I just wonder if a story about such an introspective character really works as a stage piece, or at least as one in a large house. If we could really see her restlessness, newfound passion, and torture on a wordless face up close, this could be so much more.

Overall, a mixed bag tonight. But, glad I saw it.

JBroadway, we must have seen each other at the stage door! I was the young man at the end of the line :)

I think I enjoyed this performance more than others in this thread. I love the subject matter - Anna Karenina is one of my favorite films of the past few years and I thought this was very much in the same vein. The set and lighting are absolutely marvelous - you feel the freedom Therese is longing for in the vast stage. I loved the apartment set and how it closed up the actors and trapped them in the small space. Laurent's apartment with the stars was the highlight of both the set and the show for me. The river serves its purpose well and really brings life to the climactic conclusion of the first act. My only quibble was the length it took to change the set, which killed the momentum and pacing of the show.

I didn't really like the adaptation. I felt that the dialogue was rather stilted - I first thought that it was intentional as the first few scenes between Therese and Laurent seemed more free, but I don't think that was the case. The show feels very expositional in the first act - the only life I felt was in the sex scenes. The second act was emotional payoff and I enjoyed it a lot more. I thought the physical return of Camille didn't have the impact it needed to. The ending was very problematic and needs to be worked on. I wasn't devastated at their ruin - I barely felt anything which needs to be addressed. I bought the script afterwards and saw this was the last part of the show: "THERESE begins to hear the sounds of the river. The sounds she heard in her youth. A free-flowing river, rushing, full of life and possibilities. The swans take flight. She raises her head, to watch them in the sky. Then she falls forward, into LAURENT's falling body. They lie entwined and twisted on the floor. And MADAME RAQUIN stares down at them, her eyes full of triumph." None of that happened. That feels satisfying, but at the moment, Laurent and Therese just lie on a table and blackout. Nothing felt like a conclusion.

The acting was uniformly strong. Keira Knightley was fantastic. She made me watch her in the first 45 minutes where she barely says anything. Her eyes are alive. She was very convincing and made a wonderful debut - I hope she returns soon. Her breakdown was fantastic and she brings everything she does to films to the theater. Her character would benefit to a more intimate space or close ups, but she was facinating to watch. Judith Light has a tough character, but she really wrings the most out of it. Interestingly enough, the last half hour, where she says nothing, was gorgeous. Everything she needs to say, she says with her eyes and that was breathtaking. Matt Ryan was fantastic and brought shading to a complicated character. Gabriel Ebert does his best with a truly hateful and selfish character. Poor Mary Wiseman was a standout in a thankless role (which I felt could have used more material - a scene with her and Therese?) and the rest of the cast was wonderful. I just wish the script was better.

I do think it would have made a more compelling film or musical than a straight play. Therese has such a complex inner life that would have been great in song. In fact, she reminds me of Fosca in that first 45 minutes. The show is really up LaChiusa's ally (very Marie Christine / Bernarda Alba) and I wish Keira could sing (can she?). It would be wonderful, I think.

The stage door was good, Keira signed very fast and left, but she got to everyone. Judith Light was fantastic and spoke to me - she is wonderful.

I had some very rude people behind me (one was on her phone) and I missed most of the first 10 minutes due to talking and crinkling. They then yelled when the usher confronted them at intermission. It was atrocious. I thanked the user after the show - the poor people at the theater must be fed up with awful people by now. All in all, an interesting experience with some wonderful performances. I recommend it if you have the means, but it is by no means a must see (unless they do some serious work during previews, which, in the age, is doubtful).

Does this show have nudity?

Sally Durant Plummer: maybe! I was the young man at the FRONT of the line. Right next to the loud and pushy foreign woman shouting at all the actors.

@Bettyboy72: no there's no nudity, and I found it very weird. The sex scenes were done entirely with all their clothes on. He didn't even unbutton his pants (a la Melchior in spring awakening). it felt very unrealistic to me.

Not crowded at all actually. A reasonable number of people, but far from a madhouse. It also didn't take very long. Judith light was the last. To come out. Probably a half hour after the show ended

This will go down as one of the finest productions ever mounted by the Roundabout. I really need some time to process this, but I find it hard to think I'll see a better production of a play this season.

JBroaway: I might have seen you but my focus was on the atrocious people making the noise. Sorry that happened.

No nudity, but I felt it to be more believable that they would not strip - it was a fast hookup that was staged with Therese lifting her skirts and Laurent unbuttoning his pants. I found it believable and the acting was very good and, due to the nature of be scene, very passionate which was a departure from the first part of the show.

I really liked it. The script could have been better, but I was never bored. And the acting is superb.