Our daughter saw it early in the run and immediately booked to go again. We have tickets for July.
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I’m waiting to pounce on returns for the final matinée…assuming there’s no rail strike - it’ll be four hours on train , 2 .5 hours in theatre , 4 hours on train.Originally posted by gurnemanz View PostComment
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Ah, too slow, as so often with really fine performances. Thank you.Originally posted by Ein Heldenleben View PostComment
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Finally go to see The Motive and The Cue this week. Very good but I was suprised at how much of the text from Johnny Flynn was unintelligible. Even allowing for sequences where he’s acting drunk or gabbling just to annoy Mark Gatiss’s (superb ) Gielgud about a third was difficult to make out. Had to buy a script that night - only to find that it was in some places different from the performance. All the other principals were crystal clear.
Excellent play but a bit of a slur on Richard Burton. His 1964 New York Hamlet is still on YouTube and even allowing for the poor recorded sound which appears to have been compressed his diction is absolutely excellent.
He was one hell of an actor …”We shall not look upon his like etc.”
The play is being live streamed on April the 3rd .Comment
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Another chance to see The Motive and the Cue, this time at the cinema curtesy of the NT Live broadcasts. It’s every bit as good as I remember. If interested, check your local cinema to see if it’s on in the coming weeks. Quite apart from being an absorbing drama, it’s a penetrating analysis of Hamlet itself.Comment
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Quite a big 'but', I would have thought. I quite often don't catch everything actors are saying. This may be my septuagenarian ears, but when this doesn't apply to all the actors it seems fair to put it down to voice projection, diction and enunciation. The recent resignation of acting coach, Patsy Rodenburg, might confirm this:Originally posted by Ein Heldenleben View Post
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