On the way out of the theatre, after seeing the 3 1/2 hour production of Coriolanus, I listened to the chatter of other theatre patrons.
"Well, what did you think it would be like. Knowing that the tickets for the whole season were sold out on the first day would give you a clue."
"Oh yes, and for the day seats that are left, people stay all night in sleeping bags so they will be the first in the line when those go on sale in the morning."
At the intermission Kelvin leaned over and said he wished he had read the reviews and maybe even brushed up on the plot. I had done both, and after that wondered if I really wanted to go. A story about a solider turned politician. This was not going to be a chick flick, nor a play with lots of laughter, I surmised.
Did anyone else get to the play. I was too tired to go when I got in the house after a long day away, but our home teacher was here speaking with Kelvin. Brooke was on his way to the dress rehearsal for Wagner's Flying Dutchman. "I am no more tired than he, and so why would being tired stop me from going. Yes. I may fall to sleep in half of the show, but I will still see the other half and I am not going to be in Calgary during the encore." So I warmed up some beets and rutabagas, microwave some meat meat and told Kelvin to head for the car.
The HD audience were treated with a video explaining the history of the Donmar Warehouse. So cleverly done, showing us the political history around this old London warehouse, now turned into a theatre. The explanation of the graffiti on the red walls, and the views out of the large warehouse windows onto the street were beautiful. I was thinking about the setting of MacBeth -- an old church. And now another unusual setting -- an ancient warehouse. That is what makes the theatre fresh, I think.
The intermission interview between Emma Freud and the play's director was refreshing. They were clever. No spoilers for those of us who did not now how the play would turn out.
The people to the right of me were talking about other productions of Coriolanus -- how they thought no one could top the performance by Vanessa Redgrave. I was thinking during the first act, "I am having to work very hard -- the 16th century language, the different dialects." I confess. I want substitles, even when the work is in English.
This morning I am remembering the red lips of Volumina, the mother. Those lips were theatrical with paint and the close-up of the mouth and teeth, and the words coming out of her mouth made a lasting image for me. And especially beautiful when they were lined-up with her make-up in the second act -- her hair no longer carefully coiffed and her lips yellow-gray.
I loved the costuming on the women as well. The stiletto shoes on his wife, and the sensible high heels on his mother in the first act. On the way home I was wondering why I couldn't remember the shoes on the other women -- perhaps I will be watching for those the next time.
I don't have time today but I want to go to the text and read the words at the ending of the play. Is the background song part of Shakespeare's original text. Does anyone know? There was so much going on at that moment I couldn't take in the text, the play's ending, the images on stage, the gathering together of all of the themes. Too rich for me to do anything but sit in silence.
At the intermission Emma Freud suggested that from Mexico to Australia, at the end of the play, theatre goers are cheering with a standing ovation and that is is alright to do that in a theatre. I couoldn't get to my feet -- one of those moments where the space around me is so dense that it takes a while for me to stand.
If you decide to go to the Encore, know that if you are like me, this is a play that is hard work. But well worth it. No triflers admitted.
Arta
"Well, what did you think it would be like. Knowing that the tickets for the whole season were sold out on the first day would give you a clue."
"Oh yes, and for the day seats that are left, people stay all night in sleeping bags so they will be the first in the line when those go on sale in the morning."
At the intermission Kelvin leaned over and said he wished he had read the reviews and maybe even brushed up on the plot. I had done both, and after that wondered if I really wanted to go. A story about a solider turned politician. This was not going to be a chick flick, nor a play with lots of laughter, I surmised.
Did anyone else get to the play. I was too tired to go when I got in the house after a long day away, but our home teacher was here speaking with Kelvin. Brooke was on his way to the dress rehearsal for Wagner's Flying Dutchman. "I am no more tired than he, and so why would being tired stop me from going. Yes. I may fall to sleep in half of the show, but I will still see the other half and I am not going to be in Calgary during the encore." So I warmed up some beets and rutabagas, microwave some meat meat and told Kelvin to head for the car.
The HD audience were treated with a video explaining the history of the Donmar Warehouse. So cleverly done, showing us the political history around this old London warehouse, now turned into a theatre. The explanation of the graffiti on the red walls, and the views out of the large warehouse windows onto the street were beautiful. I was thinking about the setting of MacBeth -- an old church. And now another unusual setting -- an ancient warehouse. That is what makes the theatre fresh, I think.
The intermission interview between Emma Freud and the play's director was refreshing. They were clever. No spoilers for those of us who did not now how the play would turn out.
The people to the right of me were talking about other productions of Coriolanus -- how they thought no one could top the performance by Vanessa Redgrave. I was thinking during the first act, "I am having to work very hard -- the 16th century language, the different dialects." I confess. I want substitles, even when the work is in English.
This morning I am remembering the red lips of Volumina, the mother. Those lips were theatrical with paint and the close-up of the mouth and teeth, and the words coming out of her mouth made a lasting image for me. And especially beautiful when they were lined-up with her make-up in the second act -- her hair no longer carefully coiffed and her lips yellow-gray.
I loved the costuming on the women as well. The stiletto shoes on his wife, and the sensible high heels on his mother in the first act. On the way home I was wondering why I couldn't remember the shoes on the other women -- perhaps I will be watching for those the next time.
I don't have time today but I want to go to the text and read the words at the ending of the play. Is the background song part of Shakespeare's original text. Does anyone know? There was so much going on at that moment I couldn't take in the text, the play's ending, the images on stage, the gathering together of all of the themes. Too rich for me to do anything but sit in silence.
At the intermission Emma Freud suggested that from Mexico to Australia, at the end of the play, theatre goers are cheering with a standing ovation and that is is alright to do that in a theatre. I couoldn't get to my feet -- one of those moments where the space around me is so dense that it takes a while for me to stand.
If you decide to go to the Encore, know that if you are like me, this is a play that is hard work. But well worth it. No triflers admitted.
Arta
Alex and I (and Stacy) went. Wow! yes, the language was hard but the acting?! wow. and those great scenes with all the blood?! I could maybe go again. It was amazing to go knowing NOTHING about the play, and still be able to follow it through to the end...
ReplyDeleteAnd such an ending. I was thinking about the view that we had and the perspective others must have had, since I couldn't really tell where the audience was, nor where we were in relation to them. The camera work is beautiful that way -- it doesn't feel like live theatre, for we only see the patrons coming into the theatre at the beginning of the play ... or leaving at the end.
ReplyDeleteThe scene where we got to see the elitism in his character as he mocked those who had voted for him because of their low rank? That is where I found myself drawn out of the play and into the fabulous theatrics of the moment. The taunting and the mimicking? Only a few choice moments there and suddenly the character was deeply coloured with that flaw.
There must have been a group of kids from the university who are studying the play in our theatre for there was a lot of laughter from them in moments like that.
I will be in Buenos Aires at the Encore. I know what you mean by wanting to go back. I want to watch the character of the Volumnia and maybe do some pre-reading. I might do it anyway as a follow up. Yes, without knowing the plot one could keep up. But when I just went out to wiki to check the spelling on the mom's name, I found myself lingering at the plot summary.
Did Alex get a pay off for answering 10 questions when the film was done? And give me the hardest question you asked him? You might also want to give me the answer as well.
Oh shoot! I cannot go to the encore either because I too will be in Buenos Aires.
ReplyDelete