I would like to start my review by saying thank you to Playwrights Canada Press for giving me an opportunity to not only read the play but also attend the launch party and the performance at Buddies in Bad Times theatre.
Being as smitten as I am with theatre, I almost never get to see Broadway productions. Most of the plays that are screened at Cineplex are by National Theatre or Royal Shakespeare Company. One in a while, though, we get rare gems, like The Crucible, and this time – Cyrano de Bergerac.
It was the first time I got to see this play on stage and was fairly entertained by it. Cyrano de Bergerac was written in 1897 by Edmond Rostand, and there are two most famous English translations – by Brian Hooker and by Anthony Burgess. This production used the text translated by Anthony Burgess. The play was on stage briefly in 2007, then revived and filmed in 2008.
I am so used to going to special events and broadcasts at Cineplex on Thursdays, that I almost completely missed a broadcast of “Falsettos” on Wednesday, July 12 (yes, I am a bit behind on reviews – thanks for noticing 😅).
“Falsettos” was one of those classic ‘know nothing about but it sounds gay, so I am going to watch it’ moments for me. I got a ticket almost last minute – which for me means a day or two ahead – and spent a lovely evening laughing my heart out.
Please beware of spoilers to the plot of both the play and the NT adaptation.
I have never found it this hard to start a blog post about a play. The subject matter of Yerma threw me off completely. But allow me to start from the beginning.
I purchased a ticket for the live broadcast of Yerma months ago. As per usual, I was motivated not to miss a single broadcast with the added incentive of seeing Billie Piper on stage. I loved Billie as the 9th Doctor’s companion back in a day and was excited to see her perform.
I had not known the plot of Yerma before I picked up the book, although I did know of Frederico Garcia Lorca. I got myself a copy of Four Major Plays by Lorca and was surprised to see that the play was only 50 pages long. I managed to read it in two sittings on the day of the broadcast.
For most people, who visit Vienna, Wiener Staatsoper (Vienna State Opera) is the first attraction that they are introduced to. It is a prominent landmark, from which the most sightseeing tours around the city start and end. I have met with people numerous times around Opera. I have had an Apfelstrudel in Opera Cafe. I have used Opera as a starting point of my walks in the city, and this is where I always come back.
So far, this year has been absolutely great on all National Theatre Live broadcasts. There were a lot of plays that I loved and would happily watch more than once. I know that I am a bit behind on reviews here, but since I found information about upcoming broadcasts at Cineplex website, I just had to share!
Edward Albee’s award winning play “Who is Afraid of Virginia Woolf?” was produced by Sonia Friedman Productions and broadcasted by NT Live. You might have already heard of Sonia Friedman Productions as they also produced Hamlet with Benedict Cumberbatch at The Barbican in 2015 (that was broadcasted by NTLive), Much Ado About Nothing, King Charles III (with David Tennant, Catherine Tate) – to name a few. They plan to bring Harry Potter and The Cursed Child on Broadway on 2018 too. And this year they are producing Hamlet with Andrew Scott (also on stage of Harold Pinter Theatre), and I am keeping all of my fingers crossed that NTLive would pick it up too. Because there is no such thing as too much Hamlet.
I went to see the broadcast of “Obsession” play on May 11. It was broadcast live from the Barbican Theatre in London and was only about an hour and a half long with no intermission. The play is a new stage adaptation of Luchino Visconti’s 1943 film. I have never watched the movie, but I was attracted to this play because of two things: one, the main protagonist Gino is played by Jude Law, whom I had never seen on stage; and two, the play was produced by Ivo van Hove, whose in Hedda Gabler I really enjoyed (he also produced A View From The Bridge).
Raise a hand if you can pronounce the title of this play, “Rosencrantz and Guildenstern Are Dead”, in one go without twisting your tongue – because I can’t! So, I am going to refer to it from now it as ‘RaG’ in my review, because even typing it in full is a hassle.