EXIT THE KING (play)
Ends 6th October 2018.
Runs 1 hour 45 minutes approximately, with no interval.
Audio described performances: 7th September 2018 at 7.30pm, 8th September
2018 at 2pm (touch tour available).
Captioned performances: 4th October 2018 at 7.30pm, 6th October 2018 at 2pm.
Previews from 2nd November, opens 12th November 2018. Ends 26th January 2019
Captioned performances: 13th December 2018 at 7.30pm, 27th December 2018 at 2pm,
23rd January 2019 at 7.30pm.
Audio described performances: 5th January 2019 at 2pm (touch tour available),
7th January 2019 at 7.30pm.
Previews from 14th February, opens 19th February 2019.
Captioned performances: 18th March 2019 at 7.30pm, 26th March 2019 at 2pm.
Audio described performances: 22nd March 2019 at 7.30pm, 23rd March 2019 at
2pm (touch tour available).
ANTONY & CLEOPATRA (play)
Previews from 18th September, opens 26th September 2018. Ends 19th January 2019.
Audio described performances: 19th October 2018 at 7pm, 20th October 2018 at
1.30pm (touch tour available), 1st December 2018 at 1.30pm (touch tour
Captioned performances: 3rd December 2018 at 7pm, 8th December 2018 at 1.30pm.
26th, 27th and 28th August 2018 at 7pm.
All seats: £15 (£7.50 for under 18s).
A prince learns what it is to come home, by fleeing to the ends of the world.
Chris Bush adapts Shakespeare for a community theatre event.
With all seats the same price, monkey advice is D to H centre stalls first.
Exit The King: A 400
year old king refuses to die. Eugene Ionesco's tragi-comedy is re-worked by
Hadestown: As winter comes, Orpheus and Eurydice can't
live on music alone. Eurydice is drawn to Hadestown, can Orpheus save her? Anais
Mitchell and Rachel Chavkin's musical is directed by Chavkin in this
Follies: Tomorrow, the Weismann Theatre will be demolished... tonight,
those "Beautiful Girls" reminisce... The Sondheim classic is revived at the
National, following a successful run in 2017. Dominic Cooke directs.
& Cleopatra: He's the guy who survived Caesar to run Rome. She's the gal
with the cute asp. Roman General meets Egyptian Queen in this Bill The Quill
Exit The King: Not available.
Reports are that Rhys Ifans and the final scene are worth the price of a ticket.
For the rest, some professional reviews find the whole thing chilling and
relevant, others simply shapeless and irrelevant. It's a run through the King's
last hours, and there are apparently some good one-liners and surprises in the
set. Beyond that, it seems that those willing to accept the ideas thrown
constantly at them have a good time. Anyone looking for more than a morality
lesson may be left wanting a lot more. Still, it isn't too long at 1 hour 40
minutes, so perhaps worth a look if absurdist theatre is your thing, seems to be
Hadestown: Not available.
Follies: (from the previous run, seen at the afternoon performance on 23rd
September 2017. Some actors have now left the cast). The latest incarnation
of many has arrived at the National Theatre, London. Dominic Cooke uses the full
resources of the National to present something remarkable. Played without an
interval, if it weren't for the structure of the show itself, probably nobody
would notice the passage of time - appropriate, as that is the key theme.
In a partly demolished theatre (perfectly realised by Vicki Mortimer) former
showgirls, their husbands and impresarios meet for a final time. Hauntingly
beautiful, their younger spirits shadow them, as lives are played and re-played
like the spectaculars in which all once participated.
The first two-thirds of the production could have been called "Ghosts" for the
construct, but the monkey preferred "triste" (Latin for "Sadness"). It's a
feeling that lifts as the evening progresses and re-connection is made with the
energies of youth. The final third, the tricky "Loveland" in which the muddled
emotions of the four leads are explored in four individual songs thus makes an
odd contrast - and is the singularity never really solved for the monkey.
Fortunately, the performances overcome all.
Imelda Staunton (Sally) re-claims "Losing My Mind" from cabaret, an internal
monologue sung with breathtaking control and punctilious phrasing. It's just one
of several other "standards," returning to their rightful home. Tracie Bennett
(Carlotta) gives "I'm Still Here" unique animation, Philip Quast (Ben) hold the
audience enthralled with "The Road You Didn't Take," Janie Dee's (Phyllis) late
"The Story of Lucy and Jessie" is pure emotional energy, and ensemble numbers
"Beautiful Girls" and "Loveland" are particularly impressive.
Notes too for the shadows - Adam Rhys-Charles (Young Ben) and Fred Haig (Young
Buddy) forming the principal male team, beautifully over-confident in their
naivety, with Zizi Strallen (Young Phyllis) and Alex Young (Young Sally) as
sisters in spirit (Ms Young, unusually managing without actual spirits, too).
The pairing bring out the most in each other, two rising musical theatre
performers a joy to watch.
A huge supporting cast, too numerous to mention* but every one of them
contributing unique movement, costume and background shadow (note in particular
the period showgirl costumes worn by youngsters, appropriate to each senior
character) and impressive orchestra under Nigel Lilley give the finishing
touches; as do the rare operatic vocals - performed, as with many numbers in the
show - in an almost spooky spotlight glare.
This version doesn't solve many issues the show may have in construction, pace
and resolution, but this deeply moving 5 star production uses the emotion that
is the personal passage of time in each one of us to weave a tale of age that
will live as vividly as youth in the memory.
If you can get a ticket, go see.
*Also impossible, as the programme has ditched decent photographs of each person
for "ensemble" shots too blurry to match with.
& Cleopatra: Not available.
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