Aktuelle Zeit: 28.03.2024, 15:47

Alle Zeiten sind UTC + 1 Stunde


Forumsregeln


Die Forumsregeln lesen



Ein neues Thema erstellen Auf das Thema antworten  [ 97 Beiträge ]  Gehe zu Seite Vorherige  1, 2, 3, 4, 5 ... 7  Nächste
Autor Nachricht
BeitragVerfasst: 17.01.2020, 23:19 
Offline
Mill overseer & Head of the Berlin Station
Benutzeravatar

Registriert: 30.08.2011, 09:28
Beiträge: 29880
Wohnort: Richard's Kingdom of Dreams
Bericht Nr. 3 von Servetus gibt es hier:

https://meandrichard.wordpress.com/2020/01/17/uncle-vanya-third-impressions-could-include-spoilers-richardarmitage/


Ein erster Tweet zur heutigen Vorstellung:

Zitat:
Sabine@heyerette

What a stunning ceiling. What yummy ice cream. What a stunning stage setting. And hello, truly excellent acting. We laughed, we related, we admired, we had sads, we ogled. And that's just the first half. Row D seats are perfect. #UncleVanya #RichardArmitage


https://twitter.com/heyerette/status/1218277119601643525

_________________
Bild

Danke, liebe Boardengel, für Eure privaten Schnappschüsse. :kuss:


Nach oben
 Profil  
Mit Zitat antworten  
 Betreff des Beitrags:
Verfasst: 17.01.2020, 23:19 


Nach oben
  
 
BeitragVerfasst: 18.01.2020, 10:13 
Offline
Percy's naughty little barfly

Registriert: 28.05.2008, 07:48
Beiträge: 6508
Wohnort: John Porters Land Rover
Sehr gut, ich habe D-Sitze! :sigh:


Nach oben
 Profil  
Mit Zitat antworten  
BeitragVerfasst: 18.01.2020, 18:23 
Offline
Mill overseer & Head of the Berlin Station
Benutzeravatar

Registriert: 30.08.2011, 09:28
Beiträge: 29880
Wohnort: Richard's Kingdom of Dreams
Kurz, knapp und inzwischen schon fast gewohnt ;) - eine Reaktion zur Nachmittagsvorstellung heute:

Zitat:
Sofie@Sofie73472627

#UncleVanya is brilliant!!!


https://twitter.com/Sofie73472627/status/1218560303404896258

_________________
Bild

Danke, liebe Boardengel, für Eure privaten Schnappschüsse. :kuss:


Nach oben
 Profil  
Mit Zitat antworten  
BeitragVerfasst: 19.01.2020, 12:18 
Offline
Mill overseer & Head of the Berlin Station
Benutzeravatar

Registriert: 30.08.2011, 09:28
Beiträge: 29880
Wohnort: Richard's Kingdom of Dreams
Zur Ergänzung der Berichte 1-3 hier Servetus Posts 4-6:

https://meandrichard.wordpress.com/2020/01/18/uncle-vanya-fourth-impressions-could-include-spoilers-richardarmitage/

https://meandrichard.wordpress.com/2020/01/19/uncle-vanya-fifth-and-sixth-impressions-could-include-spoilers-richardarmitage/

_________________
Bild

Danke, liebe Boardengel, für Eure privaten Schnappschüsse. :kuss:


Nach oben
 Profil  
Mit Zitat antworten  
BeitragVerfasst: 19.01.2020, 21:58 
Offline
Mill overseer & Head of the Berlin Station
Benutzeravatar

Registriert: 30.08.2011, 09:28
Beiträge: 29880
Wohnort: Richard's Kingdom of Dreams
Eine kleine Sammlung neuerer Tweets zu den gestrigen beiden Vorstellungen:

Zitat:
Jessica@Common_Linnet

On my way back from London after watching #UncleVanya last night at #HaroldPinterTheatre. I really loved the play and the cast was absolutely brilliant! I am so tempted to buy another ticket for the next month or so @unclevanyaplay #RichardArmitage #AimeeLoudWood #TobyJones


https://twitter.com/Common_Linnet/status/1218937660615667715


Zitat:
Maureen Dunlop@MaureenDunlop1

Loved @unclevanyaplay @HPinterTheatre with #TobyJones and @RCArmitage. A wonderfully fresh and relevant reinterpretation by #ConorMcPherson , beautifully directed by #IanRickson. Great cast, performances and design.


https://twitter.com/MaureenDunlop1/status/1218678011953844224


Zitat:
Cally-Richeda@Cally246

So, @unclevanyaplay last night was AMAZING Staging, casting etc all superb! To watch Toby Jones & @RCArmitage live is such an honour. To be introduced to the wonders that are @RosalindEleazar & Aimee Lou Wood & be dazzled by such beautiful staging, so happy! If you can, GO!


https://twitter.com/Cally246/status/1218464809571749889


Zitat:
Antonella Napolitano@svaroschi

Yes, @unclevanyaplay last night was great! Amazing cast, from Toby Jones and @RCArmitage to @RosalindEleazar and Aimee Lou Wood. And a special mention for the stunning set designed by Rae Smith, with lighting by Bruno Poet. Don’t miss it!


https://twitter.com/svaroschi/status/1218469848453394432


Zitat:
Bianca@lustanddespair

@RCArmitage @unclevanyaplay Saw the play tonight and absolutely loved it!!!!


https://twitter.com/lustanddespair/status/1217948226957074433


Zitat:
Fiona burrough@BurroughFiona

@unclevanyaplay und @RCArmitage It was great. So much funnier than I expected.


https://twitter.com/BurroughFiona/status/1218070990523072512

_________________
Bild

Danke, liebe Boardengel, für Eure privaten Schnappschüsse. :kuss:


Nach oben
 Profil  
Mit Zitat antworten  
BeitragVerfasst: 19.01.2020, 22:33 
Offline
Uhtred's warrior maiden
Benutzeravatar

Registriert: 29.03.2012, 21:46
Beiträge: 18400
https://twitter.com/lostfoundagain/stat ... 55360?s=21

Zitat:
Saw #UncleVanya this afternoon. There were moments of comedic & dramatic brilliance but 4 me the far 2 frequent jump between the 2 put into ? the authenticity & integrity of the serious issues underpinning the story which left me underwhelmed.


https://twitter.com/lostfoundagain/stat ... 86528?s=21

Zitat:
#UncleVanya on a + note the acting itself was superb. #TobyJones was tragic, moving & hilarious in = measure. What he lacks in stature, he more than makes up 4 with on stage presence. Seeing the comedic side of @rcarmitage was a wonderful revelation & an unexpected treat. THKU X

_________________
Bild


Nach oben
 Profil  
Mit Zitat antworten  
BeitragVerfasst: 19.01.2020, 23:49 
Offline
Mill overseer & Head of the Berlin Station
Benutzeravatar

Registriert: 30.08.2011, 09:28
Beiträge: 29880
Wohnort: Richard's Kingdom of Dreams
Ein knapper Twitter-Report mit Sitzplatzempfehlung:

Zitat:
Sabine@heyerette

I'm the person who went "to see their favourite actor show off". Expectations? None, except it being very Chekhov. Reality? I loved a lot about it, this version works for the modern audience; with laughs, sads, relating, understanding and anger. Gorgeous setting, brilliant acting


Zitat:
Sabine@heyerette

Antwort an @heyerette
I think an advantage of previews is that the actors get to have a little fun tweaking and testing, still, and that they were clearly enjoying being on this stage. The first act was my favourite and scenes between Richard and Toby Jones were just fab, great chemistry there.


Zitat:
Sabine@heyerette

On a practical note - we sat in the centre of row D and it was perfect. The play also went by fairly quickly, for it's 2:15 hrs or thereabouts, and Richard was at the stage door soon after. I got a lot more from seeing it than I thought I would. RA aside.


https://twitter.com/heyerette/status/1218967995801841664

_________________
Bild

Danke, liebe Boardengel, für Eure privaten Schnappschüsse. :kuss:


Nach oben
 Profil  
Mit Zitat antworten  
BeitragVerfasst: 20.01.2020, 14:08 
Offline
Uhtred's warrior maiden
Benutzeravatar

Registriert: 29.03.2012, 21:46
Beiträge: 18400
Ein wunderbarer Blogbeitrag mit einer sehr nuancierten Besprechung:

https://maryamphilpottblog.wordpress.co ... ssion=true


Zitat:
Uncle Vanya – Harold Pinter Theatre
Maryam Philpott
30 mins ago
Uncle Vanya - Harold Pinter Theatre (by Johan Persson)

“Life is the same only worse,” a sentiment that seems to reflect so much about our mood in the last few years, spoken by Uncle Vanya in Conor McPherson’s new version of the play. Notably departing from Chekhov’s original here and there, this adaptation, which has a little settling to do ahead of its Press Night later this week, emphasises the comedy scenarios and personalities in Chekhov’s timeless play while still drawing out its major themes – ageing, purposelessness, the challenge of intellectualism in rural societies and, modern audiences may be surprised to note, even climate change.

Uncle Vanya is a play that rarely leaves the West End for long with at least three major productions in a decade. In fact, Chekhov has felt very much in vogue of late with several productions in the last few years taking illuminating approaches to his best-known works. Famously heavy-going and often encased in oppressive sets and stifling costume, a new wave of directors and designers have liberated the emotional undercurrents that thrum through Chekhov’s plays, a fragile humanity clinging to existence and lost in the travails of daily life. The clarity of these new directional approaches is finally cutting through the period fustiness in which his work had been too long preserved.

Ian Rickson’s latest attempt essentially situates Uncle Vanya in a similar social and political existence as last year’s sensational Rosmersholm. A vast, light-filled room on a sizeable estate outside of which the world is struggling; the local community are poverty-stricken and plagued by illness while in the house long-buried emotions rise to the surface prompted by and maypoled around the arrival of Yelena, wife to Vanya’s brother The Professor, staying temporarily to complete his latest paper. Like Rosmersholm, Rickson lays bare the intricacies of the household, its politics, familial resentments, assumptions and buried passions as the characters contemplate lives of unfulfillment in which endurance rather than happiness is their only satisfaction.

But McPherson’s approach is far lighter than the themes of the play might suggest, recognising not just that audiences want to be entertained as well as moved, but also that Chekhov’s work has always had its skewering moments of social satire that examine the ridiculous pomposity of individuals or situations. McPherson emphasises the lightly comic overtones to Acts One and Two by giving Vanya a clown-like levity as he criticises the dry scholastic achievements of his brother and, in Act Two, enjoys a a period of drunken revelry with neighbour Dr Astrov and dependent Telegin, a well-managed high-point in a show that finds humour wherever it can.

This focus also gives this adaptation a more relaxed feel than previous attempts, thereby creating a more credible group dynamic among the various residents, guests and visitors to the family, people long established in each other’s company who descries the stiff conventions of polite society that so often govern interactions in Chekhov productions. McPherson applies this in equal measure to the language in his script and while the characters are not quite speaking in colloquial patterns, the formality and artificiality of traditional language is something McPherson eschews in favour of a more natural selection of words and phrases. It is a subtle but meaningful decision that trades the sometimes archaic construction of most translation for an everyday speech that once again reflects and reinforces the over-familiarity of these people with one another.

Humour, then, runs to a degree throughout the play and while the conversations naturally darken as the dramatic currents are resolved (or as much as Chekhov’s characters earn any form of resolution), McPherson gives the audience the opportunity to laugh at the ridiculousness of extreme behaviours, especially when Vanya and the Professor go head-to-head in Act Three. Yet, ahead of Press Night, there is a downside to this approach which sometimes cuts into the emotional subplots and dramatic intensity. This is not, for example, a production that feels like a grand tragedy with even some of the significant emotional revelations and confrontations provoking smatterings of laughter. McPherson writes these elements well – and perhaps controversially gives three characters brief monologues to the audience to explore how they are reduced and caged by the events of the play – but as the balance tends primarily to the comic, it comes slightly at the expense of its other drivers.

For Uncle Vanya – like many of Chekhov’s plays – is ultimately about the essential nature of people and their inability to escape the confines of themselves. They talk frequently of freedom, the hopeful future ahead, the joys of nature and better lives in the cities they will never go to, but their existence is bound by the room in which they stand. Drama, respite and ultimately self-realisation comes from the introduction of characters temporarily taken out of their rightful context and here, in Rickson’s production, duel ripples are created by the regular visits of Dr Astrov and, more determinedly, by the presence of Yelena.

The core individuals in this play are seeking some kind of release or escape from the frustratingly ordinary routines of their daily life by looking to others who fail to observe their emotional needs, a strand to which McPherson and Rickson bring considerable clarity. Passions are deeply felt but isolated and unrequited for the most part, the object of their affection does nothing to instigate or encourage a feeling they don’t return or even notice. Sonya’s six-year affection for Astrov, Vanya and Astrov’s infatuation with Yelena are all doomed, with much to say about the blindness of characters to see beyond their own state or truly read the feelings of others. The selfish and arguable lack of empathy with which this group view one another is striking here and it is only through rejection that self-realisation is possible for each of them. Ultimately Chekhov argues, no one can save you but yourself.

And while comedy dominates, the emotional heart of this version of Uncle Vanya, surprisingly is not the sweet but insipid affection of Sonya who cannot even speak of her feelings, or the ephemeral presence of the sleepwalking Yelena, but it is the reawakening of Dr Astrov whose dormant connection to the present is full-bloodedly revived. From the first moments of the play we glimpse something broken in Astrov, almost a hint of PTSD emerging from the terrible medical sights he’s seen and his recent failure to save a particular life that haunts him. The middle of a struggle is a tough place for an actor to begin, but Richard Armitage perfectly hits the intense sadness and interior confusion that introduce the tragic doctor to the audience in the earliest moments of this play.

Astrov is a man who cannot bear to live in the present, and looks only to surviving his lot in order to play his part in a better future, a frequent refrain being the improved quality of life the population a century hence will enjoy which brings him an existential comfort. His attempts to stem the tide of local deforestation erupt in lively exclamations from Armitage who blossoms through his enthusiasm for nature, while acutely living without love or purpose within his day-to-day profession.

Having shut-down all emotional responses or belief in personal happiness, Armitage is especially good at showing Astrov’s complete indifference to Sonya, not only avoiding her evident feelings but seeming to have no knowledge of them at all. So passion, when it does come, surprises and confounds him as entirely as it consumes. It burns slowly at first, a few shy glances in Act One at Yelena, as though testing his ability to withstand it, before erupting into something more fervent and soulful as he urges her to acknowledge the feeling between them. Armitage is wonderful and moving in his distress, forced to repack his armour by the end of the play, almost perplexed by his own conduct and the emotions that momentarily and so violently poured forth. His experience is really the emotional centre of the production and a meaningful return after a five year stage hiatus.

Toby Jones’s Vanya has to navigate quite different extremes of character, layering a sheen of foolishness over the inner turmoil his character experiences in the early sections of the play. Obsessed with the advancing years at 47 and what in retrospect appears to be a wasted life, this put-upon Vanya jokes and blunders his way through various conversations, always assuming the role as family jester. Jones enjoys the comedy easing the audience into the play with warmly received asides and sarcastic jibes that emphasise his displeasure but only reinforce the set structure in which the family has organised itself, working to support the Professor as the most intellectually gifted.

It is only later in the play that this Vanya shakes off those expectations and stakes a claim to an estate that he has worked hard to maintain, a moment that surprises others with its ferocity and hysteria. Jones and Ciaran Hinds’s arrogantly self-serving Professor have a bitter conflagration, one of the production’s most dramatic but enjoyably staged sequences. Within the performance, Jones could do a little more to seed these frustrations earlier to make sense of the scale of Vanya’s reaction here and the same with Vanya’s oft-declared love for Yelena which seems less deeply felt than the production implies, leaving the audience appreciating her exasperation with the slightly empty neediness that Vanya exudes. The tonal approach tips the balance slightly too far into the comedy, fractionally drawing intensity away from the crescendo of desperation and unhappiness that mark Vanya’s final transition later in the play.

The female leads contrast well as Aimee Lou Wood’s Sonya suggests an unimposing innocence that prevents her from attaining her dream of being Mrs Astrov. Sonya is ever the peace-maker, attentive, capable and kind but Wood aptly demonstrates her lack of courage, her failure to find a strong insistent voice that can take charge of the squabbles around her or even to fight for a different kind of life for herself, instead preferring resignation and acceptance. Rosalind Eleazar’s Yelena is by contrast an accidentally destructive force and clearly marked out from the others by a quite different style of dress that simultaneously embraces but pretends to ignore her sexuality. This Yelena drifts abstractedly from room to room, suffocating in the country air and barely able to exist, yet is equally unmoved, bored even by the ardent attentions of others that she seems to feel have nothing to do with her. There is neither encouragement nor censure in Eleazar’s measured, dreamlike performance that creates a riveting otherness in Yelena with only the smallest hint of untrammeled depths in the play’s final scenes.

With no scene changes, Rae Smith’s painterly design, lit beautifully by Bruno Poet, is full of rundown charm, a great house fallen to disrepair but full of comfort and solace. The streaming sunlight through the large windows adjoined by the forest that forces its way into the house reflect the play’s themes while, as the drama unfolds, the ensuing darkness and change of seasons is visibly reflected when summer gives way to autumn in every sense. This Uncle Vanya is more roundedly entertaining than other recent productions and while that detracts a little from the emotional undercurrents of the original, the fluidity and richness of Rickson’s production, performed by an excellent cast, ensure a satisfying Chekhovian conclusion where life, as Vanya states, is the same but worse.

Uncle Vanya is at the Harold Pinter Theatre until the 2nd May with tickets from £15. Follow this blog on Twitter @culturalcap1 or Facebook: Cultural Capital Theatre Blog


P.S.: Maryam Philipott schreibt seit 2014 Theaterkritiken für "The reviews hub".

_________________
Bild


Nach oben
 Profil  
Mit Zitat antworten  
BeitragVerfasst: 23.01.2020, 12:56 
Offline
Uhtred's warrior maiden
Benutzeravatar

Registriert: 29.03.2012, 21:46
Beiträge: 18400
Mit ein wenig Kritik, aber alles in allem gut:

http://boycottingtrends.blogspot.com/20 ... d.html?m=1

Zitat:
Theatre Review: Uncle Vanya (Harold Pinter Theatre)


Reviewing Anthony Page's Royal Court production of Uncle Vanya in 1970, Martin Esslin pointed to "the strange and marvelously productive affinity between the British and Chekhov", suggesting that "the country house civilization which Chekhov portrays, with its house guests, its boredom and its frustrations... closely resembles the country house life of the English middle classes until not so long ago, and in some ways to this day."

Esslin might have also given special attention to the relation between the Irish and Chekhov, since my two encounters with Uncle Vanya on stage have come via translations by Irish playwrights: first, Brian Friel's version for Sam Mendes at the Donmar Warehouse in 2002 and now Conor McPherson's new take, directed by Ian Rickson, which has just opened at the Pinter Theatre.




The play retains its original setting here, but the production boasts a stealth Irishness too, evident not only in McPherson's dialogue rhythms but also in the casting, with Ciarán Hinds playing the pompous prof and Dearbhla Molloy as his devoted mother-in-law.



McPherson's version has some infelicities: the drunken nighttime revels scene is funny but slightly overdone, and the use of a phrase like "wanging on" may be (just about) acceptable once, but not twice, and certainly not delivered by two different characters. But the production gets the ever-shifting Chekhovian flow of laughter to tears right, and the themes of unrequited love and disappointment emerge vividly and without ponderousness. Confrontations give way to embraces, mundanity intrudes into the philosophising, and the production preserves the compassion and humanism of Chekhov's vision, with each character given their measure of pathos, absurdity and awareness.

There have been more poignant Vanyas than the impish Toby Jones; in an effort not to sentimentalise the character he seems to have robbed him of some of his tragic stature. But Jones certainly conveys Vanya's bitterness and resentment at the waste that he's made of his life: which he lays at the Professor's door. A commanding Richard Armitage does well with the contradictary qualities of Astrov - his obliviousness to Sonya's devotion, his cynicism, his surge of sexual passion for Yelena - and he makes the vegetarian character's ecological concerns (a prescient part of the play if ever there was one) urgent and compelling.




As Nana, the magnificent Anna Calder-Marshall (who played Sonya in the 1970 production that Esslin reviewed) makes every look and line, however throwaway, count. "Do you remember?" she asks Vanya and the remark reverberates thanks to her beautiful voice. Some of the biggest pleasures of the production come in watching Calder-Marshall interact with Peter Wight, whose garrulous Telegin - describing how his wife left him a day after their wedding - strikes just the right notes of silliness and melancholy.





The older actors' beautiful ease ease makes Aimee Lou Wood's performance as Sonya look especially effortful; Wood has some touching moments, but others that are shrill or amateurish, and a lack of rapport between her and Jones is a weak spot that makes the ending less moving than it should be. Wood seems much more secure with Calder-Marshall and Rosalind Eleazar. I wasn't sure about Eleazar as Yelena at first either, but the performance warms up as the actress powerfully reveals the character's sense of entrapment and frustration. Enhanced by a beautiful country house design by Rae Smith, and by Bruno Poet's lighting, the production is already in strong shape and looks likely only to deepen as the run progresses. Overall, it's a Chekhov to cherish.


Uncle Vanya is booking at the Harold Pinter Theatre until 2 May Further information here

_________________
Bild


Nach oben
 Profil  
Mit Zitat antworten  
BeitragVerfasst: 23.01.2020, 13:06 
Offline
Percy's naughty little barfly

Registriert: 28.05.2008, 07:48
Beiträge: 6508
Wohnort: John Porters Land Rover
Ach, ist das alles schön! Danke fürs posten, Laudine :kuss: :sigh:


Nach oben
 Profil  
Mit Zitat antworten  
BeitragVerfasst: 23.01.2020, 17:17 
Offline
Uhtred's warrior maiden
Benutzeravatar

Registriert: 29.03.2012, 21:46
Beiträge: 18400
https://loureviews.blog/2020/01/23/uncl ... ssion=true

Zitat:
Uncle Vanya (Harold Pinter Theatre)
Louise Penn Louise Penn
5 hours ago
Advertisements

Conor McPherson’s second show in the current West End (his Girl From the North Country is on just a few streets away) is bold, comic and earthy new adaptation of Chekhov’s Uncle Vanya. It has tempted Richard Armitage back to the London stage for the first time in six years. Then he was the lead in The Crucible, but here he is the doctor Astrov. Drinking too much, pursuing the wrong woman, troubled by the loss of a patient. It’s a welcome return.

The set by Rae Smith is sparse (we see the pipes, fire exits, extinguishers and emergency lights of the stage, giving the play’s characters the appearance of ghosts from the past, half-remembered names and faces from “two hundred years ago”, as Astrov states in a moment of melancholy) yet cluttered and distressed. Chairs do not match, and show signs of wear. A towering bookcase has shelves collapsing under the weight of volumes placed upon it.

Only a hint of colour through the glass doors into the garden, one tree starting to make way into the cavernous living space, gives any sense of life progressing. This house is choking everyone in it. Even a storm in the depth of the night gives little respite.


Toby Jones and Richard Armitage as Vanya and Astrov.
Toby Jones and Richard Armitage as Vanya and Astrov.
Astrov is an idealist. An early environmentalist who berates his friend Vanya (a terrific Toby Jones, last seen at the Royal Court) about his consumption of wood as fuel. Better, says the good doctor, to reach down to the ground than destroy another part of the forest.

The smotth running of the house where Vanya lives and Astrov visits has been distrupted by the arrival of the selfish and self-absorbed Professor (a beautifully-judged Ciaran Hinds, fresh from Translations) and his young wife Yelena (Rosalind Eleazar). She is as empty and vacuous inside as she is beautiful outside, and sizzling with frustration and boredom.

This pair make the household eat lunch at 6pm, keep everyone up during the night, and cause havoc to the country way of life. The Professor’s daughter, Sonya (a restrained Aimee Lou Wood), from his marriage to Vanya’s dead sister, is a sensible peacemaker, but she has her own heartbreak to deal with.


Aimee Lou Wood and Anna Caldee-Marshall as Sonya and Nana.
Aimee Lou Wood and Anna Caldee-Marshall as Sonya and Nana.
Rounding out the cast as three accomplished character players: Dearbhla Malloy is a regal Mariya, with remnants of better days in her poise and voice; Anna Calder-Marshall’s Nana keeps house without much complaint; and Peter Wight’s idle Waffles is content to play music and stay on the sidelines as long as people don’t get his name wrong.

McPherson and director Ian Rickson tease out the comedy in Vanya’s predicament, and there is also a visual joke when Jones (an actor of fairly small stature) is next to Armitage’s rangy height. Physical appearance is referred to again and again – Waffles has bouts of acne, Sonya has “nice hair”, Yelena’s eyes dazzle both Vanya and Astrov, Vanya and Astrov are “old codgers” whose appearances have deteriorated with age.

There are beautifully judged moments, too. Sonya’s devastation when her beloved rejects her move for a kiss. Yelena letting down her guard now and then for the physical closeness her marriage clearly lacks. Vanya’s constant crumpling up as his stands or sits and the world moves around him. Mariya’s half-life in a world she no longer recognises, but dresses up for.


Toby Jones, Aimee Lou Wood and Rosalind Elezhar as Vanya, Sonya and Yelena.
Toby Jones, Aimee Lou Wood and Rosalind Elezhar as Vanya, Sonya and Yelena.
Perhaps not quite as moving as I would have liked at its conclusion,this Uncle Vanya is still a good production with much to admire, and I particularly liked the camaraderie between the cast members.

I found the contrast in the depictions of Vanya, Astrov, Yelena and Sonja between this production and the superb fringe version by Theatrical Niche I saw last year fascinating, proving that Chekhov can be interpreted in so many ways and retains its relevance to contemporary audiences.

Uncle Vanya opens tonight at the Harold Pinter Theatre. Productions photo credits by Johan Persson.

LouReviews purchased a ticket to see Uncle Vanya.

_________________
Bild


Nach oben
 Profil  
Mit Zitat antworten  
BeitragVerfasst: 23.01.2020, 17:24 
Offline
Mill overseer & Head of the Berlin Station
Benutzeravatar

Registriert: 30.08.2011, 09:28
Beiträge: 29880
Wohnort: Richard's Kingdom of Dreams
Danke für die letzten beiden Reviews, Arianna. :kuss: Nun warten wir gespannt auf die offiziellen Reviews.

_________________
Bild

Danke, liebe Boardengel, für Eure privaten Schnappschüsse. :kuss:


Nach oben
 Profil  
Mit Zitat antworten  
BeitragVerfasst: 23.01.2020, 23:57 
Offline
Mill overseer & Head of the Berlin Station
Benutzeravatar

Registriert: 30.08.2011, 09:28
Beiträge: 29880
Wohnort: Richard's Kingdom of Dreams
Im 'Standart' gibt es morgen eine Vier-Sterne-Kritik:

Zitat:
Nick Curtis@nickcurtis

The alchemy of #UncleVanya @HPinterTheatre
- top adapter, top director, esoteric troupe of actors who are all having A Moment - totally works. I’d call it blockbuster Chekhov if it weren’t still so subtle and sad.
⭐️⭐️⭐️⭐️ review tmrw on http://standard.co.uk


https://twitter.com/nickcurtis/status/1220466900708347904

_________________
Bild

Danke, liebe Boardengel, für Eure privaten Schnappschüsse. :kuss:


Nach oben
 Profil  
Mit Zitat antworten  
BeitragVerfasst: 24.01.2020, 00:10 
Offline
Uhtred's warrior maiden
Benutzeravatar

Registriert: 29.03.2012, 21:46
Beiträge: 18400
5 Sterne vom Guardian!

https://amp.theguardian.com/stage/2020/ ... ssion=true

Zitat:
Uncle Vanya review – Toby Jones triumphs in perfect Chekhov
Harold Pinter theatre, London
Ian Rickson’s exquisite production is enlivened with expertly weighted humour and a modern beat

Arifa Akbar

Last year, David Hare teamed up with Rupert Everett to stage an Uncle Vanya that drew much humour from out of the gloom. Everett claimed Chekhov wrote it as a comedy and played his buffoonish Vanya for laughs. What does Conor McPherson bring to this new adaptation? A different kind of laughter, it turns out: deeper, more poignant and perfectly weighted.

Ian Rickson’s exquisite production is full of energy despite the play’s prevailing ennui. It does not radically reinvent or revolutionise Chekov’s 19th-century story. It returns us to the great, mournful spirit of Chekhov’s tale about unrequited love, ageing and disappointment in middle-age, while giving it a sleeker, modern beat.


McPherson’s script has a stripped, vivid simplicity which quickens the pace of the drama, and despite its contemporary language – Vanya swears and uses such terms as “wanging on” – it does not grate or take away from the melancholic poetry.

Rae Smith’s set is a thing of beauty which raises the theme of environmental damage visually rather than having the modern-day resonances spelled out more crudely in the script. This sitting room contains all the faded grandeur of the household. Garden foliage climbs into the room through the open door and windows, as if nature were reaching into this manmade space, serving as a subtle visual backdrop to the climate message.

A thing of beauty … Rae Smith’s set for Uncle Vanya.
A thing of beauty … Rae Smith’s set for Uncle Vanya. Photograph: Johan Persson
Richard Armitage, as Dr Astrov, speaks of his love of nature and the dangers of deforestation, but he does so with an ardour that is metabolised fully into character. Toby Jones’s Vanya is a vaguely dissolute type in sunglasses whose shirt is always untucked. He is variously ridiculous, self-pitying, and made to look a fool by his unrequited passion for Professor Serebryakov’s young wife, Yelena (Rosalind Eleazar). But Jones brings a tortured truth to the role that renders him eminently likeable, even in these moments, and he never fails to move us.

His rages against the pomposity of the professor and his academic achievements have a tone that suggest he secretly hates his own failure. “I could have been another Schopenhauer, a Dostoevsky,” he says, and it is both funny in its echoes of Brando’s “I coulda been a contender” and a middle-aged moment of reckoning filled with nostalgia and pathos.

Toby Jones and Richard Armitage in Uncle Vanya at the Harold Pinter theatre, London.
Tortured truth … Toby Jones and Richard Armitage. Photograph: Johan Persson
Armitage plays Astrov as a romantic idealist while Eleazar emanates the indolent boredom of Yelena, but shows what lies beneath in a sudden, volcanic eruption of passion with Astrov. Aimee Lou Wood is a goofy but lovable Sonya, also in love with Astrov, and painfully aware of her limitations. Every character is fully realised, including the ancillary roles that bring more than comic relief.


“God will smile on us,” says Sonya, as the household steps back from the brink of despair at the end, and it is the perfectly bittersweet ending to a perfect tragicomedy.

At the Harold Pinter theatre, London, until 2 May.

_________________
Bild


Nach oben
 Profil  
Mit Zitat antworten  
BeitragVerfasst: 24.01.2020, 00:15 
Offline
Mill overseer & Head of the Berlin Station
Benutzeravatar

Registriert: 30.08.2011, 09:28
Beiträge: 29880
Wohnort: Richard's Kingdom of Dreams
Super! Interessant gemacht: Toby Jones kriegt die Schlagzeile und Richard den ausführlichsten Textteil. :lol:

Die Dame von der BBC klingt auch nach einer guten Kritik. :daumen:

Zitat:
Rebecca Jones@RebeccaJonesBBC

A comic #UncleVanya - to be filed under “something you thought you’d never see.” Classy, quirky and beautifully acted. @unclevanyaplay

@SFP_London

@HPinterTheatre


https://twitter.com/RebeccaJonesBBC/status/1220471067464097792

_________________
Bild

Danke, liebe Boardengel, für Eure privaten Schnappschüsse. :kuss:


Nach oben
 Profil  
Mit Zitat antworten  
Beiträge der letzten Zeit anzeigen:  Sortiere nach  
Ein neues Thema erstellen Auf das Thema antworten  [ 97 Beiträge ]  Gehe zu Seite Vorherige  1, 2, 3, 4, 5 ... 7  Nächste

Alle Zeiten sind UTC + 1 Stunde


Wer ist online?

0 Mitglieder


Ähnliche Beiträge

Richards Tweets - @RCArmitage 2016
Forum: @RCArmitage - Archiv
Autor: Laudine
Antworten: 1304
Tweets und News aus Mittelerde - Infothread
Forum: Teil 1 (2012)
Autor: Maike
Antworten: 1523
Richards Tweets - @RCArmitage 2021
Forum: @RCArmitage - Archiv
Autor: Laudine
Antworten: 162
Eindrücke vom Stück 2.0: Reviews zu verfilmten UV-Version
Forum: Uncle Vanya (2020)
Autor: Laudine
Antworten: 5
Richards Tweets - @RCArmitage 2020
Forum: @RCArmitage - Archiv
Autor: Laudine
Antworten: 220

Du darfst keine neuen Themen in diesem Forum erstellen.
Du darfst keine Antworten zu Themen in diesem Forum erstellen.
Du darfst deine Beiträge in diesem Forum nicht ändern.
Du darfst deine Beiträge in diesem Forum nicht löschen.

Suche nach:
cron
Powered by phpBB® Forum Software © phpBB Group



Bei iphpbb3.com bekommen Sie ein kostenloses Forum mit vielen tollen Extras
Forum kostenlos einrichten - Hot Topics - Tags
Beliebteste Themen: Audi, TV, Bild, Erde, NES

Impressum | Datenschutz