Chastain stars in A DOLL'S HOUSE On Broadway - Reviews & News Thread- Page 8

[Melissa25]

Posted: 3/10/23 at 8:40am

May Audra BlessYou2: I also am finding it harder and harder to get excited about the non-stop parade of hyper minimalist revivals we are getting. Whenever I walk into the theater and see the exposed back of the stage as their production design "concept," I just sort of roll my eyes at this point and think "again?? People are spending hundreds of dollars for this, just build a set.

Agree 1000%. Exactly what I felt at MJ.

[JSquared2]

Posted: 3/10/23 at 11:04am

Melissa25 said: "May Audra BlessYou2: I also am finding it harder and harder to get excited about the non-stop parade of hyper minimalist revivals we are getting. Whenever I walk into the theater and see the exposed back of the stage as their production design "concept," I just sort of roll my eyes at this point and think "again?? People are spending hundreds of dollars for this, just build a set.

Agree 1000%. Exactly what I felt at MJ."

 

Huh?? You found the sets in MJ "hyper minimalist"?  Are you SURE you were in the right theatre?

 

[NoItAll]

Posted: 3/10/23 at 2:52pm

Green: “What the first English translation of the play, by William Archer in 1889, rendered as “You see, it is very difficult to keep an account of a business matter of that kind” becomes, for Herzog, “It’s impossible to keep track” — five words instead of 17. The play, usually nosing past three hours, comes in shy of two.”

This isn’t even stupid. It made me wonder what Nora’s “****” replaced and how much precious time it saved. I can’t wait for Herzog’s reworking of Chekhov.

 

[FLarnhill]

Posted: 3/11/23 at 6:35am

Oscar - 2022

Emmy & Tony - 2023

Chastain could break the record for Triple Crown tenure.

[Jeffrey Karasarides]

Posted: 3/11/23 at 7:21am

As someone who got to see the National Theatre Live's broadcast of Prima Facie, I'd still look out for Jodie Comer.

[BJR]

Posted: 3/11/23 at 9:20am

NoItAll said: "Green: “Whatthe first English translation of the play, by William Archer in 1889, rendered as “You see, it is very difficult to keep an account of a business matter of that kind” becomes, for Herzog, “It’s impossible to keep track” — five words instead of 17. The play, usually nosing past three hours, comes in shy of two.”

This isn’t even stupid. It made me wonder what Nora’s “****” replaced and how much precious time it saved. I can’t wait for Herzog’s reworking of Chekhov."
 

Yeah I personally think that's a great approximation of the line. No one person speaks like the former unless they're a lawyer or politician parsing their words. It's all implied in the latter.

 

[SisterGeorge]

Posted: 3/11/23 at 12:53pm

FLarnhill said: "Oscar - 2022

Emmy & Tony - 2023

Chastain could break the record for Triple Crown tenure."

Has anyone won a best actress Oscar and Tony either in the same year or successive years?

 

[East Village]

Posted: 3/11/23 at 8:36pm

Does anyone know if Chastain is performing all 8 shows a week? 

[veronicamae]

Posted: 3/11/23 at 9:03pm

East Village said: "Does anyone know if Chastain is performing all 8 shows a week?"

She has no publicly announced days off; I expect if she's out, they'd cancel the performance altogether.

[haterobics]

Posted: 3/15/23 at 11:43pm

Looks like this might be a good Satudray matinee option for me this week? Anyone know the deal on good/cheap tix? Is TodayTix rush way up in the rafters? Thanks in advance!

[MadsonMelo]

Posted: 3/16/23 at 11:16am

SisterGeorge said: "FLarnhill said: "Oscar - 2022

Emmy & Tony - 2023

Chastain could break the record for Triple Crown tenure."

Has anyone won a best actress Oscar and Tony either in the same year or successive years?

"

Ellen Burstyn and Audrey Hepburn from what I recall, both at the same year. Hepburn did with a few weeks a part.

 

Don't know anyone else.

[sm33]

Posted: 3/17/23 at 11:23am

We saw the matinee on 3/15. It was our first time seeing a production of this play, and we both thought it was great. Jessica Chastain was excellent, and the minimal set and props didn't bother me at all, but I will complain about the lighting.

We were seated in Row O, seats 12-14 (as someone recommended in this thread, and they were great seats with a perfect view, so thanks for the rec!), but it was hard to make out facial details only because the lighting was so dim. I can't imagine how much harder it must be for people seated further back. I didn't mind the blue tones, but the fact that there's so little light just made me squint the whole time. Obviously it wasn't a dealbreaker as I still enjoyed the show, but I think I would have liked it even more if I could see better.

[WldKingdomHM]

Posted: 3/17/23 at 12:20pm

Saw the evening performance. Jessica, I agree was excellent but the cast was not a match for her. The show itself was very quiet, loved the lighting and ending (which everyone laughed and cheered at)

Jessica at the stage door took her time, and when she did come out she was excellent to chat with, and took her time with everyone there. She was the real deal. The whole team at the door was also very friendly. Oak on the other hand …hmmm

Tdf seat was in row P center orchestra. Excellent seat 

Updated On: 3/17/23 at 12:20 PM

[PipingHotPiccolo]

Posted: 3/18/23 at 11:11pm

no ones ever gonna convince me that theres any inherent artistry in these stripped down, costume, prop, scenery free productions. maybe at one point there was some novelty in them but at this point, its either a tired attempt at originality or, way more likely, a way to put on an affordable production. and hey, i want big bway productions of classic pieces with top-flight casts, so if thats what it takes, so be it but why are we pretending that setting Nora in a warm, Christmasy house, or letting her and Torvald return their rings, detracts from the piece? It doesnt. The show suffers from this miming, from the funereal clothing, from bumping the scenes into one another so awkwardly. (Having the kids be off-stage voices, by contrast, is the kinda money/time saving trick that doesnt hurt the piece at all).

So with that objection noted-- the 2 hours did fly by, because the linguistic updates were subtle but powerful, and bc this cast is just top to bottom wonderful. Michael Patrick Thornton and Oak were both fantastic- a nice reminder that Oak is a real talent, his previous nonsense notwithstanding. I know the reaction to Moayed has been tepid, if not hostile, but I thought his Torvald was fascinating, a jackass, yes but someone I couldn't really hate because its 1879

And yes Chastain is doing masterful work. I think her Nora, more than anyone else, suffers from not being allowed a set or a prop. Instead of giving her a moment to fiddle with her ring or readjust a pillow on a couch, she's forced to ramble to herself like she's under interrogation. But she pulls it off! Her Nora strikes me as more fragile/hysterical than most, and maybe its a modern spin that such fragility is not meant to undermine her ultimate bravery? But from her first line to her exit, I thought she was so keyed into her character, so lost in the role, it was a sight to behold. (And there's something doll-like about her beauty, too, which helps a ton here). 

As for the big finish- i have to admit that it really is only the left quarter of the theater that misses it, though I still can't get over that a major production would stage such a key moment in such an obnoxious, unfair manner. I know others have reported audience laughter in response, and tonight was no exception there, which I can't understand: the audience sat in total silence, well behaved and hanging on every word, the entire evening, and then giggled at this dramatic moment? I dont get why and i found it very distracting from an otherwise tired but effective moment.

we got last minute front row balcony tickets for tonight, from a friend, and we grabbed em even though I had planned on seeing this from the orchestra later in the run. my impression is that this is *another* show this season where I think the orchestra seats aren't necessarily the best view. if i were going again id choose front mezz, but the sightlines from the balcony are great, and until the end, the whole show is really performed center stage. and the sound is really remarkably well done. didnt feel over amplified but felt them all talking in my ear.

[fbueller]

Posted: 3/19/23 at 10:13am

PipingHotPiccolo said: "no ones ever gonna convince me that theres any inherent artistry in these stripped down, costume, prop, scenery free productions. maybe at one point there was some novelty in them but at this point, its either a tired attempt at originality or, way more likely, a way to put on an affordable production. and hey, i want big bway productions of classic pieces with top-flight casts, so if thats what it takes, so be it but why are we pretending that setting Nora in a warm, Christmasy house, or letting her and Torvald return their rings, detracts from the piece? It doesnt. The show suffers from this miming, from the funereal clothing, from bumping the scenes into one another so awkwardly. (Having the kids be off-stage voices, by contrast, is the kinda money/time saving trick that doesnt hurt the piece at all).

So with that objection noted-- the 2 hours did fly by, because the linguistic updates were subtle but powerful, and bc this cast is just top to bottom wonderful. Michael Patrick Thornton and Oak were both fantastic- a nice reminder that Oak is a real talent, his previous nonsense notwithstanding. I know the reaction to Moayed has been tepid, if not hostile, but I thought his Torvald was fascinating, a jackass, yes but someone I couldn't really hate because its 1879

And yes Chastain is doing masterful work. I think her Nora, more than anyone else, suffers from not being allowed a set or a prop. Instead of giving her a moment to fiddle with her ring or readjust a pillow on a couch, she's forced to ramble to herself like she's under interrogation. But she pulls it off! Her Nora strikes me as more fragile/hysterical than most, and maybe its a modern spin that such fragility is not meant to undermine her ultimate bravery? But from her first line to her exit, I thought she was so keyed into her character, so lost in the role, it was a sight to behold. (And there's something doll-like about her beauty, too, which helps a ton here).

As for the big finish- i have to admit that it really is only the left quarter of the theater that misses it, though I still can't get over that a major production would stage such a key moment in such an obnoxious, unfair manner. I know others have reported audience laughter in response, and tonight was no exception there, which I can't understand: the audience sat in total silence, well behaved and hanging on every word, the entire evening, and then giggled at this dramatic moment? I dont get why and i found it very distracting from an otherwise tired but effective moment.

we got last minute front row balcony tickets for tonight, from a friend, and we grabbed em even though I had planned on seeing this from the orchestra later in the run. my impression is that this is *another* show this season where I think the orchestra seats aren't necessarily the best view. if i were going again id choose front mezz, but the sightlines from the balcony are great, and until the end, the whole show is really performed center stage. and the sound is really remarkably well done. didnt feel over amplified but felt them all talking in my ear."

This was such a great review.  Thank you!

[bwayphreak234]

Posted: 3/19/23 at 5:58pm

This is now the second Jamie Lloyd-directed production I've seen that has just left me at a loss for words. And I don't mean that in a good way. I didn't like Betrayal at all, and I pretty much detested A Doll's House. This stripped down style of directing that uses no scenery, props, costumes, and very little lighting cues combined with monotonous line readings and barely any blocking/movement just doesn't do it for me, personally. 

While the text of the play is great, the direction just wreaks havoc on it. Jessica Chastain's performance seems to be hindered by Lloyd's directorial choices that confines her to a wooden chair until the final moments. The soft-spoken monotonous dialogue is just tiresome. I never felt that the stakes were high for any of the characters or situations which is baffling to me considering the plot.

The ending was pretentious and gimmicky and evoked outright laughter from the audience. I went to see this for two reasons - 1) It's a famous play that I have read but never seen live and 2) Jessica Chastain. In hindsight, I can't say either of those reasons were worth sitting through this almost two hour intermissionless proudction. I realize this style of direction is very polarizing and works just fine for some, but I just can't appreciate it.

[Markie27]

Posted: 3/22/23 at 9:46am

I’m so sorry this is another seating question.  A lot of people are discouraging the orchestra seats but I’m near sighted so I always want the nearest full view seat (when I have money that is).  And since the first 8 rows are really expensive I want to know what is the best nearest seat I can get that will not obstruct my view and not waste an arm and a leg for premium seats turning out to be partial view tickets.  The stage is really high I’m afraid if I buy the third row seats (E’s) I might not see the back of the stage and the infamous ending scene.  Really appreciate the feedback from anyone who gotten the third to fourth row if it was worth it (sight wise) and if a the ending scene can still be seen on a slight middle house left seat on the fourth row.  Thank you so much! 

[alexidarling15]

Posted: 3/22/23 at 10:54am

Has anyone else done TDF for this? Wondering if it's worth the gamble that I'll end up far left. 

[Laurapattifan]

Posted: 3/22/23 at 12:15pm

alexidarling15 said: "Has anyone else done TDF for this? Wondering if it's worth the gamble that I'll end up far left."

I got Dress Circle E2 last week.

[WldKingdomHM]

Posted: 3/22/23 at 12:29pm

I was row p center orchestra 107 amazing seat 

[everythingtaboo]

Posted: 3/27/23 at 1:04pm

So the ads for the show are calling her "the greatest actress of her generation." Does that seem like worthy praise for her yet?

[JSquared2]

Posted: 3/27/23 at 2:27pm

everythingtaboo said: "So the ads for the show are calling her "the greatest actress of her generation." Does that seem like worthy praise for her yet?"

 

That's kinda how press works...

 

[Dolly80]

Posted: 3/28/23 at 5:56am

Jodie Comer IS going to win Best Actress. When you see her- there will be no doubt in your mind.

[VernonGersch]

Posted: 3/28/23 at 8:12pm

Yet another seating question - is the first row of Orchestra TOO close for this production?

[PipingHotPiccolo]

Posted: 3/28/23 at 8:23pm

bwayphreak234 said: "This is now the second Jamie Lloyd-directed production I've seen that has just left me at a loss for words. And I don't mean that in a good way. I didn't like Betrayal at all, and I pretty much detested A Doll's House.This stripped down style of directing that uses no scenery, props, costumes, and very little lighting cues combined with monotonous line readings and barely any blocking/movement just doesn't do it for me, personally.

While the text of the play is great, the direction just wreaks havoc on it. Jessica Chastain's performance seems to be hindered by Lloyd's directorial choices that confines her to a wooden chair until the final moments. The soft-spoken monotonous dialogue is just tiresome. I never felt that the stakes were high for any of the characters or situations which is baffling to me considering the plot.

The ending was pretentious and gimmicky and evoked outright laughter from the audience. I went to see this for two reasons - 1) It's a famous play that I have read but never seen live and 2) Jessica Chastain. In hindsight, I can't say either of those reasons were worth sitting through this almost two hour intermissionless proudction. I realize this style of direction is very polarizing and works just fine for some, but I just can't appreciate it."

I enjoyed this more than you did, but in the weeks since I saw it, its grown colder on me. I didnt find the dialogue monotonous at all but the more I think about it, the more insane it is to stage this production without scenery or props. Im laughing as i type that! The whole point of the story is how ensconced Nora is in this pretty, happy world, which she realizes is suffocating her despite its comfort and beauty. Its almost outrageous that someone sat down and said "hear me out, what if... there is nothing beautiful or warm or familiar for her to have to leave at all?!"