Old Times Kristin Scott Thomas
Posted 08 February 2013 - 02:30 PM
Posted 08 February 2013 - 02:44 PM
Posted 10 February 2013 - 02:41 AM
Posted 10 February 2013 - 11:51 AM
I'm sure plenty of others are aware of this, but I only decided to go a few days ago, and there wasn't much left to choose from on the ATG website. However, no one seemed to want the £10 restricted view seats in the dress circle, so I nabbed one of those - C6 (there's also C15, which looked identical). What a great seat, and a total bargain! The 'pillar' in front/to the right of you is only about 5 inches wide, and as long as you lean your head a couple of inches to the left, your view is pretty much unimpeded. The dress circle is really close to the stage at the Harold Pinter Theatre, and because you're in row C, you don't even have the problem of the safety rail in your line of vision. I would definitely recommend C6 at £10 (presumably it's not always this cheap?) - people don't seem to have twigged just what a good seat it is...
Posted 10 February 2013 - 01:09 PM
Also, there's an odd gap in the stalls, right where many of the premium seats used to be. It's an aisle I suppose, but it's odd that it doesn't stretch all the way down to row A. It runs between, roughly, row P and row E. I note the seats (certainly in the stalls) have been replaced.
Posted 10 February 2013 - 06:46 PM
Posted 11 February 2013 - 09:17 PM
Posted 12 February 2013 - 01:15 AM
I loved this. Seeing it twice didn't illuminate it entirely - I love Pinter's opaqueness and he's never been as opaque as here - but it helped. I'm not going to attempt to explain what the truth is or where they are, because I don't think that's what this production wanted to answer with this. I felt the switch highlighted the human aspect. As characters, they shone. Credit especially to Rufus Sewell who gave two very different performances yet not so different that it was noticeable - tiny changes in intonation were earth-shattering. And of course to KST and Williams for being quite a pair yet completely individual and different. As a human drama this was just extraordinary, and highlighted by the two very different interpretations of two complex characters, whilst as a mystery it had a clear through line yet never attempted to answer something unanswerable.
In a nutshell it's wonderful theatre, wonderful acting, opaque and haunting and mysterious and wonderful. Especially haunting. Like Gatz, going into a theatre at 3 and not properly leaving until 10 was such an experience. And interestingly, I prefered one way whilst my companion (who also loved it) prefered the other, and yet we were both able to talk each other around to our view. That's why I think this was great - it was enlightening and never completely easy to understand, though always easy to admire and like, and far from gimmicky.
Posted 12 February 2013 - 01:18 AM
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