Therese Raquin Previews — Page 4

Do they have merch in yet? Specifically, the posters?

Wait, Jordan, are you being sarcastic? I saw the matinee today and thought it was dreadfully dull. My goodness it was so gloomy and sluggish. The acting was fine but the direction was so terrible that all of the "thrilling" moments had most of the mezzanine laughing out loud. I had to bite my finger during one scene to stop myself from laughing.

If you tallied up the number of minutes spent with actors wandering, standing or sitting in silence in this show, it would surely equal the minutes of dialogue. The show could be 30 minutes shorter if they just picked up the pace.

The set was the only thing worth the $10 tickets. I actually loved the attic apartment and the water. But my goodness what a bore. The show was over at 4:40 but when I asked my friend what time it was, someone behind us said "it feels like midnight."

I was at the matinee and sitting with Jordan today. I considered skipping it based on other reports, and I am so very glad I did. I agree with Jordan - one of Roundabout's finest productions.

The set is stunning. The lighting is stunning. Judith Light is stunning. Kiera Nightly is stunning. Matt Ryan is stunning. My only shortcoming is Gabriel Ebert, though I must admit I'm not a fan of any of his work. Something about him feels very over-the-top and forced to me. I do think there's a few places that the playwright could've self-edited, but the length (in the end), really did not bother me at all.

It's a slow-burn and a deeply affecting one. It's bone-chilling, and thrilling to watch unfold - especially if you're like me and were not already familiar with the plot.

I hope to return later in the run to see how it's grown. A really magnificent, marvelous, extraordinary production from Roundabout.

I was at the matinee today as well and have to say I did not care for it all. I admit to not being familiar with the source material at all, which may have hindered my opinion of the show overall, But i found it dull and at times sort of pointless. There were many times where things started to pick up for me and then seemed to slam to a stop. The actors all do their best but overall I think the direction failed them, like the previously mention sex/violence scenes. I was actually surprised to hear as much laughter as I did as I didn't think there was supposed to be any comedic elements to the show.

BTW- For those who care, Keira didn't stage door the matinee, but they gave out playbills that she signed, which I thought was pretty generous as that wasn't necessary.

I agree that dominoes scenes seemed superfluous. Jordan actually explained why he thought they were there, and it made a lot of sense to me. Maybe he can tell you his idea of them, too.

Yes, please explain the significance of the dominoes, if you don't mind.

I'm wondering if it has any connection to the character's monologue at the end

Slight spoiler******* of how important the weekly games are to his life, how he looks forward to them, and how they ease his isolation. It's a sad speech in that he basically doesn't have much in his life besides the domino games, and it also shows how clueless he is, that he says he's glad that he can be part of a happy household for a little while. End spoiler************

I loved the set design and the lighting, and I enjoyed the supernatural elements. The pacing needs to be picked up a bit. I would recommend sitting as close as possible for this one, because the acting is very subtle. I thought Keira was excellent, but the real reason to see this show is Judith Light. Also, my friends and I were in the $10 seats and we were able to move down to the front mezzanine, for a great view. But get even closer than that if you can.

Updated On: 10/4/15 at 12:39 PM

To me, the dominos scenes (in the first act) had nothing to do with anything other than show Therese's unhappiness. In the first act, she was withdrawn from them, sitting by the closed window, yearning to be on the other side of it. To me, they showed the mundaneness that she would give anything to escape. I really loved those scenes and Knightly's silent acting in them.

This may be the most visually stunning production of a play I have ever seen. Truly remarkable work.

I thought this was great production overall, but I agree with some of the pacing and tone issues that other posters have identified. I didn't feel like any single scene was superfluous, but I wish some of them moved along at a faster clip. The drama and tension certainly unfold as a slow burn, but there are some scenes especially early in the first act that could move faster. I also agree that there were moments in the second act that should have had dramatic heft that garnered laughter from the audience. One in particular, in which: (spoiler) Therese and Laurent are having one of their final arguments with the ghost of Camille sitting at the table and Laurent screams at Therese that she should take the ghost with her if she leaves him, that got a large - inappropriate - chuckle out of the crowd. (end spoiler) They have to fix some of those moments tonally to have a bigger impact at the end of the show.

The core quartet of actors are all delivering solid-to-remarkable performances. The weak(er) link in the cast is Matt Ryan who, although very good, has not yet established the right chemistry with Knightley. I was impressed with Gabriel Ebert. Going into the production with the little knowledge I had of the characters, I expected Camille to be cruel; I thought the juvenility and arrogance that Ebert brought to the character made him stifling and insufferable, but also brought enough comic relief in the first act that brightened what could have been an otherwise dour proceeding. Keira Knightley and Judith Light are truly the acting highlights of the production. I agree with all of the other comments that what they are able to convey in their extended silences are just as impactful, if not more so, than their scenes verbally and physically interacting with the characters around them. This is a very respectful and smart Broadway debut from Knightley. And this is another great role for Light. Although I think she had more meaty material in Other Desert Cities and The Assembled Parties, she brings a lot nuance and even pathos to a role that I expected to be much more one note. She's such a gem on the stage and I hope she continues coming back to the stage.

I have to comment on the observations of how this becomes a "ghost story" in the second act. (spoilers) The first two times when Camille physically enters a scene with just his hand were surprising and shocked and frightened a great deal of the people sitting around me. When he actually walks into the room and later when he is sitting at the table, they're less shocking, but even more chilling and, I think, important symbolically. The transition from him intruding on quiet, private moments in the bedroom ever so briefly to his full body presence to me represents Therese and Laurent's fuller acknowledging of their guilt and crime and their growing inability to come to terms with it (end spoilers). I'll be revisiting the show in November, and am very exciting to see how the production will have shaped up by then.

Also a note about the stage door, all four of the leads came out very quickly this evening. Matt didn't sign for everybody, but he did pose for pictures and was gracious. Keira seemed to be in more of a rush than previous reports, as she scribbled on a few books and playbills and dashed to the car; she certainly didn't get to everyone in the line, but the crowd did appear to be very large. Gabriel was there for a quiet a long time, posing for pictures and signing and chatting with fans. And as usual, Judith was very giving of her time. I had brought a picture of her and I at the stage door of Assembled Parties for her to sign, and she seemed quite happy to see it. We talked for a moment, and then she moved on to sign other books. She came back to me a few minutes later, though, saying that she wanted to see the picture again so that she could personalize it. She's just so incredibly sweet.

Wow, apologies for the length of this post! I guess I had a lot of thoughts to share and react to on this one!

Updated On: 10/4/15 at 02:32 PM

Went to yesterday's matinee and have to agree with the comments on the pacing. There were moments that I felt needed to be quicker (particularly toward the end) and moments that needed to be slowed (their Therese and Laurents' sex scenes - the first one in particular). Laurent thrusts and it's done. The audience needs to feel the connection between these characters to believe that they are *SPOILER* desperate enough to kill Camille *END SPOILER.* If given more time in those scenes (and not only the sex scenes, but the other intimate moments too), the audience would be able to feel that chemistry and longing because there were moments where I could get a sense of it in the bit of time that we were given.

The performances were great, and Keira and Judith were especially wonderful. I really think Judith Light can do it all, and this seems to be the type of role in which Keira seems most comfortable. The set design and lighting were also great. The confinement of the Parisian apartment and the freedom/power of the water became part of the story.

There are things to be fixed, but overall, I enjoyed the piece. Glad I went.

Updated On: 10/4/15 at 05:01 PM

Aside from the things I previously mentioned, I also saw a crew member walk behind a window yesterday, and assumed this was a big no-no and would be corrected immediately. My friend saw the play today and said she saw the same thing. They need to figure that out.

After the "hand"? Yeah that was a huge mistake. Then he walked back in front again which was so stupid on his part.

I still think this adaptation (and the casting of/portrayal by Ebert) got Camille all wrong. Camille is a very sickly, weak boy and later young man. Yes he is egotistical and thinks far too highly of himself owing to his mother's constant doting, but the truth of his appearance can be found in Laurent's painting, which depicts his skin in a greenish hue! Zola's description from the novel reads: His growth had been stunted, so that he remained small and sickly looking; the movement of his skinny limbs were slow and tired. Ebert's height alone is a major drawback. He was far too vibrant and funny. Any attempt at humor should be met with a cringe or thud, not a laugh. If anything he is a creature to be pitied with such a pathetic existence.