Nach der Press Preview: Noch mehr Berichte, Bilder, Tweets

Ich glaube, das war kein Französisch, aber Du könntest recht haben.

Wenn das kein französisch war, will ich nichts gesagt haben. Aber der dazugehörige Bericht war es doch, oder?

Die Bloggerin ist Tschechin. Ich glaube, dass sie zusammen mit zwei anderen Tschechisch spricht. Auf jeden Fall ist es eine slawische Sprache.

Hier gibt es übrigens noch einen Stage-door-Clip:

http://hallielj.tumblr.com/post/92195351050/richard-armitage-signing-autographs-after-his

Und hier ist das Beweisfoto vom Opfer der Bibelwurfattacke:

Stick-Figure Richard ‏@StickFigRichard

Backstage pic: me signing the book I accidentally threw into the face of a women in the crowd. #TheCrucible #OldVic

https://twitter.com/StickFigRichard/status/490322074762616832

Das hatte ich mir gerade auch so gedacht. Danke für die Aufklärung, Laudine!


Stickfigure-Richard ist immer ein Hingucker.

Noch ein Bericht von gestern, mit süßem backstage Detail :
http://dark-siren.tumblr.com/post/92172 ... on-my-face

Und doch rasiert ? Runterscrollen bis zum letzten Kommentar vom 18.07.
http://iwanttobeapinup.wordpress.com/20 ... /#comments

Danke für die Links, Nimue. Auch für 20 Pfund kann man allem Anschein nach einen gelungenen Theaterabend haben.

Heute ist ein ganz besonderer TC-Tag:

Marama Corlett ‏@MaramaCorlett

Today marks the anniversary of the deaths of~RebeccaNurse,SarahGood,SusannahMartin,ElizabethHowe,SarahWildes~innocent lives taken in Salem

https://twitter.com/MaramaCorlett/status/490534863452512257

Zumal Max Deacon im Publikum sitzt:

Max Deacon (@MaxD9)
19.07.14 19:57
Guess where I am... #dad #intothestorm pic.twitter.com/vkxBbkVDsI
https://twitter.com/maxd9/status/490556088744706048

Süß, wie er Richard Dad nennt.

Vergeht da ein Abend ohne Kollegen-/Kolleginnenbesuch??? Danke, Nicole.

Ich habe auch noch einen schönen Tweet von heute zwischen all den Begeisterungsstürmen gefunden:

nicola jane peers ‏@JanePeers

Awesome standing ovation for #RichardArmitage and the cast of #TheCrucible this afternoon loud cheers for Richard I feel awards coming!!

https://twitter.com/JanePeers/status/490606458472792064

Max's Kommentar hinterher:
https://twitter.com/MaxD9/status/490620402713255936

Wow...quote]

as good as it gets. Standing ovations. Everyone should see it.

https://twitter.com/oscar_owen/status/4 ... 8815373313

There's a bit in #TheCrucible where Richard Armitage takes his shirt off. An audience member let out a sound of pain #CoriolanusAllOverAgain

Max's Kommentar hinterher:
https://twitter.com/MaxD9/status/490620402713255936

Wow...quote]

as good as it gets. Standing ovations. Everyone should see it.

https://twitter.com/oscar_owen/status/4 ... 8815373313

There's a bit in #TheCrucible where Richard Armitage takes his shirt off. An audience member let out a sound of pain #CoriolanusAllOverAgain

Schmerzenslaut? Das kann nur ein Mann gewesen sein!

http://yellowstockingsreviews.blogspot. ... d-vic.html

Sunday, 20 July 2014

Review: The Crucible, Old Vic
Three and a half hours is a daunting running time for any production. And when the programme offers little hope beyond 'There is an interval', it's hard not to feel this might be the theatre that finally defeats you. And yet, not so in this case. The Crucible is the third in this second season of productions 'In-The-Round' at the Old Vic, and it is, under the direction of Yaël Farber, a production which justifies and harnesses its daunting running time to sublime effect. Three and a half hours flies by when its coupled with a near-perfect piece of theatre.

Farber avoids rushing things. She gives scenes time to establish themselves through silent movement sequences (beautifully choreographed by Imogen Knight) and build atmosphere as much as possible. By giving the script time to breathe, and the actors the chance to pace themselves, Farber creates an atmosphere of never-ending rising pressure and tension. Every time a character pauses or every time a scene change just doesn't seem to ever end, the tension is built further and further till it almost seems inescapable come the final scenes. Its nightmarish at times, like a surreal dream, as the action seems to move unnaturally slowly, like its under water. And the In-The-Round configuration adds to this, creating a claustrophobia of which there is no escape, for both the actors on stage and the audience in their awareness of each other. I'm starting the petition now for the Old Vic to consider permanently converting to being In-The-Round because it elevates this theatre from a great proscenium arch theatre to a space of exciting intimacy and boldness.

The nightmarish quality of the piece is emphasised by Soutra Gilmour's sparse but imposing set, which again, is almost inescapable in its emptiness – it's terrifying. And incredible lighting and sound design by Tim Lutkin and Richard Hammarton, respectively. Lutkin's lighting creates a world of shadows where light only increases when absolutely necessary, confining the performers even more into claustrophobia. And Hammarton's sound and music is deafening and all-consuming in its strange power, particularly when coupled with the already mentioned movement sequences by Imogen Knight. Knight's choreography is both beautiful and horrific, especially when the girls appear to be possessed and their bodies writhe in the most unnatural but stunning configurations.

This Crucible perfectly captures the rising hysteria of a village scared of the unknown, and the unavoidable nature of the consequences put in action by events both before the play and in act one. The oppressive nature of the witch-hunts and the way in which justice is conducted is perfectly mirrored in the oppressive nature of Miller's writing, where characters have no way to avoid their fates and no way to escape. At the time of writing, Miller was creating a commentary on the communist witch-hunts of McCarthyism, but for myself and a modern British audience, the Crucible now, and particularly in this production, plays more as a commentary on the dangers of extremism, the injustice of oppression and the collapsing sense of community.

All of this is supported by a superb ensemble cast. All bring powerful emotive performances which perfectly compliment each other and Miller's writing. The acting is as turns puritan and restrained and uncontrolled and bold. Samantha Colley is a wonder as Abigail in her professional debut – which I still find impossible to believe – creating a cold, hard, viciously immoral woman who seems less driven by a need for John Proctor than a need for power. Richard Armitage, completing a long-time ambition in playing Proctor, is the perfect balance of noble, anti-hero and animalistic rage and guilt. It's a strong, bold performance which also allows the collapsing man inside to be clear, especially in the final scenes which are heartbreakingly well-played by Armitage.

There's also notable support from William Gaunt as Giles Corey, offering both lightness and sadness; Adrian Schiller as Reverand Hale, who seems haunted and consumed by his mistakes and what is happening around him; and Anna Madeley as Elizabeth Proctor, who clearly shows the torment of a woman betrayed by her love, but remains strong and faultless nonetheless.

The only criticism I struggle to find is that perhaps the first scenes take a little while to get going, although even this later seems vital to the build of tension throughout the rest of the play; and perhaps I'm not quite as engaged by Miller's script in places as most... but these are small quibbles in what is a near perfect production of a classic. This Crucible at once feels timeless and entirely new. It's a fresh take on a classic which, I'm sure, will go down for many as the best production you could possible wish for.

Interessante kleine Twitterkonversation über das Stück und die Stage door:

dee ‏@Thorntonsheart 19. Juli

@Sinjoor hello! Spending the Cumberbabe's birthday with Richard! Well sort of.. As tonight is Crucible Night! Getting a little nervous!


cRAzy FANny ‏@Sinjoor 19. Juli

@Thorntonsheart oh tonight's the night!! So excited for you!


dee ‏@Thorntonsheart

@Sinjoor oh my good god it was brilliant! It is an absolutely outstanding play! #TheCrucible #theoldvic


cRAzy FANny ‏@Sinjoor

@Thorntonsheart that seems to be the consensus!


dee ‏@Thorntonsheart

@Sinjoor it's very powerful, very moving, and brilliantly staged. #TheCrucible


RichardArmitageNet ‏@RAnetdotcom

@Thorntonsheart did you meet him? I hope the stage door atmosphere was good @Sinjoor


dee ‏@Thorntonsheart

@RAnetdotcom I did meet him. He was very nice, unrushed and friendly. The whole stage door thing was very well managed.


RichardArmitageNet ‏@RAnetdotcom 32 Min.

@Thorntonsheart that's very good to know. How exciting for you all!


dee ‏@Thorntonsheart

@RAnetdotcom it really was. The play itself is outstanding and Richard afterwards was everything we've come to expect. Perfect.


dee ‏@Thorntonsheart

@RAnetdotcom it does seem to be almost a 'living' thing, ever evolving. I'm so thrilled you get to see it again, I'll be seeing it again sat


RichardArmitageNet ‏@RAnetdotcom

@Thorntonsheart really can't wait although that means wishing away the summer

https://twitter.com/Thorntonsheart/status/490879836895080448

Ein schönes Bild:

Lisa ‏@asil

@odayski “MaddieElse: Richard Armitage and the cast of The Crucible take a bow at the Old Vic - standing ovation pic.twitter.com/9vSwPggkou”

https://twitter.com/asil/status/490925099973754880

Und noch ein Bericht:

http://www.tcake.blogspot.co.uk/2014/07/a-literary-day-in-london-chapter-4.html

Danke, Nimue.

Bei feodoralady gibt es den ersten Teil eines Berichts von Judith aus Ungarn. Es könnte eine längere Fortsetzungsgeschichte werden, scheint mir.

http://thearmitageeffect.wordpress.com/2014/07/16/part-1-of-judits-crucible-odyssey-a-hungarian-ra-fan-seizes-the-day/

Und hier geht es nun weiter mit Teil 2:

http://thearmitageeffect.wordpress.com/2014/07/19/part-2-of-judits-crucible-oddysey-prepping-pressies-and-a-study-in-contrast/

Ein neuer Blog, der erste Eintrag:

Review - The Crucible at the Old Vic

During what seems to be my ranting hiatus, I've decided to try my hand at the art of reviewing. Here is my first review of a play by my bosom buddy, Arthur Miller.

I have been fortunate enough to see quite a few theatre productions in my little life and none have had the same gripping effect on me as Yael Farber’s production of The Crucible did at the Old Vic theatre last month. With a punishing running time of over three and a half hours and minimal staging or effects, I did not expecting this production to leave its footprints in my memory as it did. Literary enthusiasts will understand what I mean when I say Farber portrayed the essence of this play in true Millerian style. Miller gripped his audiences from start to finish, emotionally dragging us through the protagonist John Proctor’s journey, bumps and all.

Arthur Miller’s masterpiece, one of the most influential and important plays of the twentieth century, was his response to McCarthyism. He used the 1692 Salem witch trials, and a sordid affair, as an allegory for the ‘witch hunt’ against communist conspirators – of which Miller was accused - taking place in America at the time. This link works to show how both hunts were based on speculation and not empirical evidence: a reflection on society’s downward path. Miller certainly wrote the score but Yael Farber assembled the orchestra here. The South African director made the crucial decision of not updating the production and keeping the staging rusty, minimal and impoverished like Salem’s 1692 community. She managed to balance the play’s religious hysteria and human tenderness without losing our attention for one second. This is the tension that helps to form the blade that goes into each audience member’s heart as the production unfolds.

The Crucible forms part of the Old Vic’s in-the-round season designed by Soutra Gilmour. The staging itself resembles a ‘crucible’, which forces each audience member, however awkwardly, to catch a glimpse of each other throughout the production. Are we all guilty? The choreography and movement of the mad women stunned me; they were flying through the air and seizing on the floor with such precision. However, it is Richard Armitage’s performance as John Proctor, which takes the cake. The ex-Hobbit carries the production; you linger on his every word and break down alongside him. His ultimate refusal to save himself by confessing to a lie is an illustration of what it means to be a good human as even when trust is gone, love and duty remains. Samantha Colley as Abigail Binning, who can only be described as a shrieking banshee, sets everything off, and brilliantly supports Armitage’s mesmerizing performance.

Putting all these thematic principles and staging splendor aside, the electrifying effect of this production stems from the fact that it is not just about one woman’s revenge against her ex-lover (Proctor and Abigail). Farber breathes new life into Miller’s classic by making a point about the dangerous effects of religious fundamentalism, something that is very topical at the moment. Amidst all the supernatural hysteria, it circles back to religion without fail, becoming a cautionary tale about society’s ability to manipulate profound religious loyalty to serve one’s own personal ends.
50 years later, Miller’s politically charged words seep through Farber’s production with the same poignancy and relevance as they did originally on New York’s stage. This is a play about politics and humanity, both strike you as much as the other in Farber’s electrifyingly intense thriller. The emotionally drained state it leaves you in by the end only makes me worry about how the actors’ must feel after every performance. It tugs on your heartstrings because of the anger you feel at the injustice, the heartbreak for those who have died for honour and the unbreakable love you witness between husband and wife.

I can only hope this production wins all the theatrical awards it deserves, if for no other reason than to give Michael Gove the middle finger about his unfortunate and ignorant proposed school syllabus changes to remove American literature.
The Crucible runs at the Old Vic, London until September 13th. (Image credits - The Old Vic Theatre)

http://memoirsofafool7.blogspot.co.uk/2014/07/review-crucible-at-old-vic.html

Also wenn er sich nicht über das liebe Geschenk aus Ungarn gefreut hat, dann weiß ich auch nicht.

Spoiler: anzeigen

Es sei denn, er will die Zeit lieber vergessen.

Danke für die neusten Links und die Berichte, ihr Lieben!


Es ist ein neues Make-Up-Bild von John Proctor aufgetaucht...

https://www.facebook.com/photo.php?fbid ... =1&theater



Thanks to Eni from RA Bulgaria!

In der Bilder-Galerie sind noch weitere atemberaubende Bilder von weiteren Darstellern von The Crucible. Ein Blick lohnt sich.