Reader Reviews
August: Osage County (Lyttelton (National Theatre), West End)
Back to Show Details| Score | Comment | Date |
 | Enjoyed but confused - what was the significance of Vi knowing that Beverley had checked into a hotel before he was discovered (dead)? - William | 20 Jan 09 |
| The opportunity to see the legendary Steppenwolf company turned the Lyttelton stalls into something of an Equity convention, which is hardly surprising as they provide a masterclass in ensemble acting. August:Osage County is a huge play in the American tradition of Eugene O'Neill and Tennessee Williams, plus a corruscating dinner scene which is reminiscent of Ayckbourn. Tracy Letts presents an extraordinary picture of the hideously dysfunctional Weston family, brilliantly directed on an amazing set. At the end of three and a half hours I felt hugely rewarded but emotionally exhausted, but this incredible company had to put themselves through the wringer again in less than two hours. - David Baxter | 15 Jan 09 |
| Superb. - C | 10 Jan 09 |
| How on earth can anyone call this play banal? Ok, I'll accept taht this is a play that people will either love or hate, I felt that it was at times over long, but if you enjoy watching a serious play with great acting then you have probably already booked to see this play. - CAA | 05 Jan 09 |
| save your money, a very banal play - iain mcleish | 04 Jan 09 |
| Sam Shepherd and David Mamet have both produced modern American plays about dysfunctional families, but both in a minimalist way rather than with the dramatic sweep of Tennessee Williams or Eugene O'Neill like this. It's humour is very dark and at times it veres too far into melodramatic implausibility, but the terrific ensemble relish such meaty roles and the set and staging make terific use of the Lyttleton stage. Mr Letts only other work produced in the UK (as far as I'm aware) was the excellent (edgier but smaller scale) Killer Joe. It's good to see him given the resources to produce something bigger and it's good to have another import to fill the (hopefully short-lived) lean dramatic spell at the NT. Where are the British playwrights writing on this scale? - Gareth James | 31 Dec 08 |
| Oh dear,another over hyped show, overhyped, over written and over here! It may have been moving (or something) to have Letts's dying father play the first scene in the U.S. but boy is it badly written, and then it seems like we get a succession of star turns, audition pieces or improvisations, delivered in wildly varying styles and ability. The direction was all over the place, as were the characters who walked through walls when excited, and the set itself was a disaster, masking much of the action. It would be a lot more interesting to see a radically cut down version in a studio theatre and then the artistry of the more subtle playing might shine through. The high point of the evening for me was watching the fabulous underplaying from Paul Vincent O'Connor as Charlie, watching TV. - joesmith | 22 Dec 08 |
| It is interesting to read the enthusiastic comments here and compare them to the feedback on the NT's own website. I walked at the first intermission on Broadway, but was determined to sit it out here since the entire company had taken the trouble to come over with the play and it was the Tony winner afterall, it was the least I could do! I shouldn't have bothered. It is overhyped, overacted and ...! Broadway is generally on the losing side compared to London when it comes to straight plays and I guess that is the reason why they went mad for it there. I, for the life of me, did not see a Tony winning performance from Deanna Dunagan as the drug addicted matriach or a Tony winner in Tracy Letts play. Sure it had its moments, but it didn't add up to a particularly well crafted drama. The staging didn't help either causing what must be one of the play's major set pieces, the post funeral meal, to be performed on one side of the vast Lyttelton stage, with half of the actors present crowded around the dining table with their backs to the audience. I was in the centre of the third row of the stalls and had difficulty hearing what was being said. The final moments of the play has Ms Dunagan stumbling around the stage before climbing a seemingly endless staircase to an attic room where she curls up, foetal like, onto the lap of her carer seemed to me to border on the ludicrous. The somewhat less than enthusiastic reception they recieved the night I went must have been a far cry from the standing ovations they would have got every night on Broadway. I hope they don't take it personally, it's the play and the direction that's at fault not them. - rds | 21 Dec 08 |
| As the safety curtain opened, it was as if a picture book setting of a full size dolls house appeared before the audience, belying what was about to unfold. The relentless force of the charge towards that funeral dinner when the cracks finally break and all hell breaks loose leading to the ferocity of Barbara yelling "I'm Running things now" comprises a fine ensemble performance. Particular praise must go to Deena Dunagan and Amy Morton. All the secrets that unravel destroy, it seems, all that is left of this hugely dysfunctional family. I am left thinking of Long Days Journey Into Night, Who's Afraid of Virginia Woolf, The Homecoming and other plays which lay bare the fragility and simply awful side of family life. All of them classics and I am sure this play too will become a classic along side them. Family life is often anything but happy and harmonious and this play shines a light on aspects of a life that many of us will identify with to a greater or lesser extent; the vicious and destructive side of family life. This talented Steppenwolf company seems well suited to the National Theatre, both original and innovative. Let's hope for some collaborations in the future. An uncomfortable but hugely rewarding theatre experience all the same and often incredibly funny. This is the best of American theatre at the best of British theatres. - Paul Wallis | 20 Dec 08 |
| After the opening scene which I thought difficult to hear upstairs the play took off. Three hours flew by. O.K. perhaps some of it could have been edited but what great performances.Probably it would have worked better in the Olivier and less lines would have been lost. - Stuart | 15 Dec 08 |
| A major disappointment. Nothing to get excited about at all. Not helped by the actors being drowned by all the coughing, but when they weren't the voices weren't carrying well (and I was only in row D upstairs). There were brief moments when I thought it was going to get interesting, but certainly nothing struck me as being as funny as some people seemed to think. One or two lines maybe, but that's it. The most intriguing character killed himself very early: what a good idea. - Chris Moorcroft | 14 Dec 08 |
| The play is no masterpiece but at least it is never boring. Wonderful cast with a few exceptions (the youngest sister in particular) - Manos | 07 Dec 08 |
| Wowee! If there was a higher star rating, then I would have without any problems have given this show it. Book, book, book!!! - Greg | 01 Dec 08 |
| Good points, Violent is great, some good one liners, and worth seeing But not too keen on the house set and some scenes could be cut and you could keep the impact. I felt like I was watchig a film. - Min | 29 Nov 08 |
| With a less talented cast this play would gradually become less plausible and more risible, however the Steppenwolf company are no ordinary troupe and they carry it off with conviction. It's grand guignol and fortunately we're given permission to laugh, however I couldn't immediately feel a parallel with America at large. A long evening in the theatre, but you almost don't want it to end. You emerge satisfied. - kilburncat | 28 Nov 08 |
| The hype, the Tony Awards still do not prepare you for this incredible play. The writing and direction are only matched by a superb cast. Three and a half hours which just flew - stunning work of theatre really does not come better this and to add to the the joy seeing the original American cast perform recreate their roles here adds to the joy of seeing this play literally explode on stage. - Eoghan | 27 Nov 08 |
| The 3.5 hours just flew by. Amazing performances by Amy Morton and Deanna Dugan. Just don't go if you don't like bad language. I was surrounded by old people tutting every time someone swore on stage! - Steve | 27 Nov 08 |
| Blew my mind! Go and see it before it sells out. Everything about it was amazing. This is what theatre should be like. - M | 25 Nov 08 |
