I don’t love the idea of a director just doing the same stylistic choices for every show. Like I understand the mission statement of the production company, but what if cameras and microphones and stripping back everything don’t service the piece? If you do the same shtick for every show, then it loses its meaning and its power in my opinion, especially if it’s done without the intent to comment on something specific within the piece itself.
If he does another show then he needs to do RENT. Using Mark’s storyline, with Mark having a camera (a live filming one) at times to help portray the story of the show would be so effective!
I loved his Urinetown and enjoyed Evita, but his recent radical reinvention is really not landing for me. It’s ironic that in the quote you read, he says he now feels his role as a director is “to get out of the way”, because to me he’s doing the opposite. R+J felt frankly overwhelmed by his direction, good actors like Freema Agyeman doing their best but ultimately stifled by it. Not to be personal but you also get a sense of ego in how much his name is in the foreground across his works - in the case of Sunset Boulevard, literally. I struggle to think of any other theatre creative who would have their shows sell tote bags with their own name on.
Matthew Bourne is always first billed, for a recent one. But yes, I agree. We do go in and out of the flavor of the month, from Lloyd back to Franco Zeffirelli's over stuffed opulence (more opera than theater, but you get the idea).
I thought Freema was great in the first act, but I was very confused at the huge tonal shifts when she started covering multiple roles, but still playing the nurse? in the 2nd act. Really for me overall it was great until everything fell apart in the 2nd act.
Jamie Lloyd should direct Phantom. Cameron Mackintosh would be thrilled with the cost savings. The cost savings will be maximised if they take actors who have just graduated. I'm sure Jamie Lloyd, with his innovative taste, will also minimize the orchestra to a pure band recording. Costumes should also be avoided; a few stickers covering the explicit areas will save the costume budget. God, it will be going to be so good!
Interesting to hear the Jamie Lloyd mission statement about trying to make these plays more accessible. I haven't seen much of his work, I think just the NT Live Cyrano and Seagull (perils of not living near enough to London), but I felt almost the opposite. Like the deconstruction and minimalism is a fascinating lens to view the play through, but one that only made sense if you already knew the play, its history, and performance practice, and didn't need to understand the play itself (even the basic story) anew. Particularly with The Seagull, which was my first Checkov play at all, I ended up feeling like I'd had a (maybe great) production pass right over my head. It wasn't a particularly enjoyable experience, and I don't think it was a good introduction to the material. I got a lot of the same vibes with the recent Oklahoma! revival, although that's obviously not Jamie Lloyd. There I *do* know the material very well and got a lot more out of it, although the whole thing still left me kinda cold.
I felt the same way with his Evita revival. It's my favourite musical of all time and I do believe that what he did with the material was absolute genius - I only could recognise it's genius because I'm so familiar with the material and what he's referencing and just how powerful what he's doing with it is, if that makes any sense.
I thought ado Annie and her beau were the only things that kept Oklahoma from being a giant stinker. The interminable scene of Laurie's contemporary dance supposed rape scene was one of the worst things I've ever seen.
@@emhu2594 And they shortened that sequence quite dramatically too. The original dream ballet runs nearly 20 minutes! Although there was always intended to be a company of dancers not solo. My biggest gripe with that was actually that they moved it from the end of the 1st act to the start of the 2nd. I can see why logistically and timing, but it's nonsense for the narrative function.
@@_purble if that dance had been at the end of the first act, literally no one would have come back after the interval. i was literally seconds from getting up during the middle of it, climbing across the entire row of people and leaving. my god
I have nooo problem with stripped down stagings(less is more can be a VERY good thing) but to get rid of props and blatantly ignore the intention of the playwright as he does is wildly irritating.
I literally said something similar to my mum about it Specifically about how robert ike uses minimalism in a way that adds to the intent of the story Where jamie lloyd uses minimalism in a way that does a disservice to the story and loses a lot of the original texts intent 😅
@@evaandrews4682 Everyone should know what they are signing up for when it's literally in the Jamie Lloyd company mission statement. You just seem very foolish at this point if you are still paying to see shows in a style you know you don't appreciate. Don't come back here to complain when you pay those prices to see it and don't like it.
@@emhu2594 'in a style you know you don't appreciate'. this is not about style. Jamie Lloyd uses minimalism without actually utilising it effectively to serve the story. like a gimmick. people are allowed to have complaints about bad choices and bad work. nobody is foolish for believing that the next time he may live up to his reputation and past work and actually make choices that serve the story, like in Sunset Boulevard.
I think your comment about the emporer’s new clothes at the start of your video sums up how I feel about Jamie Lloyd and his work. You have to wonder if the didn’t have these big names attached to his work, would he be able to command the venues and the budgets he obviously has. Just not for me.
Absolutely loved Cyrano with James McAvoy, but he really was the highlight of the production for me. I wasn’t too keen on the production style, but the actors managed to perform well. I have only seen clips of other shows he’s done, but it really does seem to be hit or miss.
I feel exactly the same. The very same choices that made Cyrano work so well made me almost walk out of The Seagull 🤷♀️ I expect that Waiting for Godot can work when done in his style, but there is no way Much Ado About Nothing will be any good if it's stripped completely bare.
I've not seen any Jamie Lloyd productions, I only really became aware of him because of everyone talking about Sunset last year. I'm not a huge Shakespeare person, I've liked some of the Shakespeare I've seen but it's not something I go out of my way to see. My main concern when I saw the announcement was how is the minimalistic, no props, set etc style going to play on a stage as massive as Drury Lane and in a house that big as it feels like a very minimal production would get swallowed up in there-granted I did not know the auditorium could be reconfigured so that does go a way to potentially explaining that theory. I do appreciate his commitment to making theatre accessible and the cheaper tickets for under 30s being an integral thing in each production as opposed to being an afterthought to get rid of seats when something isn't selling as well. I can appreciate the thought behind the mission statement and I do like directors taking bold swings but I don't think that minimalistic style will definitely work for all pieces and feel that using that approach for every piece of work will become tired rather than bold at a certain point. But like I said, I've not seen any of his work so I could be totally wrong!
As a Gen X’er, I am very interested in the Keanu Reeves and Alex Winter “Waiting For Godot” and may plan a trip to NYC for that. I was a teen when Bill and Ted came out and I have a lot of love for those two! I’ve had no interest in a Jamie Lloyd production till now.
Mickeyjo, have you seen My Own Private Idaho? Early in his career Keanu was famous for talking in oblique, non sequiturs, he’ll be fine. Maybe not his John Wick fans, though.
I loved Cyrano, the staging really suited the story ans elevated it. But every Lloyd production I've seen since has been so stripped back emotionally that it lost all its meaning. I for one will be skipping these upcoming productions until I see what reviewers are saying.
I agree with you on everything except for "Waiting for Godot." I saw Bill Irwin perform "On Beckett" tonight at the Irish Repertory Theatre in NYC. His magnificent deep dive into Beckett made me appreciate just how thrilling it can be. He performed several pieces from Beckett, including several moments of "Waiting for Godot" which he's been in a number of times. He made the language thrilling and even made very funny quips about why people think of Beckett as dull and dry. I never would have imagined being moved to tears by Beckett, but I was tonight by Bill Irwin. I'm not sure how Keanu Reeves will do, but I'm intrigued to say the least!
It’s interesting to see how many shows he’s announced in the last 72 hours. It’s like he’s planned these shows for a very long time and now has the investments to make these productions happen that he’s doing them all at once. For the two shows he’s doing at the Drury Lane, I’m beginning to feel that he’s gonna use every inch of that building and make it more of a cinematic show than a traditional stage show. I think that beats the purpose of a live stage show but more or less a live film every night. It worked with Sunset but I just don’t know how it will work with Shakespeare. Anything is possible I guess.
If Jamie Lloyd feels so confident with his versions and what he’s trying to do artistically, then why does it seem like they’re consistently casting celebrities that would lead to sell-out ticket sales no matter if the production is good or not? 🤨
I am from the west coast of the US, and haven’t made it to any of those shows, but I adore Much Ado and the idea of those two leading the show sounds so intriguing! I’m curious to hear how it goes!
I heard about the Waiting for Godot casting yesterday, and was excited that Winters and Reeves were going to be in a play together, because they have such a good rapport in film. The setup for the Jamie Lloyd version of Sunset Boulevard sounds and looks interesting. If it ports over here, I might be able to get up to NYC to see it, depending on my work schedule. I saw Sunset Boulevard in London many, many years ago - late 90s - during it's last week. Our school's drama club did a "London Theatre Tour", which was phenomenal (introduced all of us to Blood Brothers, which we all agreed was the sleeper hit of the trip). We kept seeing posters for Petula Clark in Sunset, and how it was in its final week, and about six of us begged and pleaded to try and get tickets - offering to pay for our chaperone's ticket so that we could go. We didn't have anything scheduled for the last night, since we had to fly out early, so one of our chaperones decided that we could go. We all gave the cost of the ticket, plus our share of the chaperone's, to the one kid who'd been allowed to bring their parents' credit card, and he ordered us the tickets. So the day before it closed, we saw Petula Clark in Sunset Boulevard, and it was marvelous. She stepped onto the balcony of the set, and got a standing ovation. And it got better from there. Perfect end to a week-long trip. It's difficult to imagine without the set - the balcony, staircase, fountain - that I remember. Then again, it's difficult to imagine Rebecca without its set, and you all had it in a stripped-down version recently. So I'm willing to give it a chance if I'm able.
THE WAY I WAS RELIGIOUSLY CHECKING FOR THOSE VID AFTER THE MUCH ADO ANNOUNCEMENT (I live in the Midwest USA and won’t even see the West End till I retire at 70)
Oh yay Waiting for Godot again, some more. I am a Bill and Ted fan; I was a teen when the first movie came out. But we *just* had a starry production of it off Broadway at the end of last year, and there was a starry Broadway revival in 2013-14. It’s hard to argue Godot isn’t accessible at this point. The main problem with “accessibility” of theater in NYC (where I am) is the ticket prices.
I am a literature student I had to give a presentation on Waiting for Godot. I mentioned that I found it very funny the teacher looked at me like I'd turned into an alien. Maybe my explanation that i grew up watching serial experiments lain and evangelion didn't help 😂
waiting for Godot w/ Keanu is brilliant in a completely batsht crazy way - I'm in. Sunset was pretty great (for the reasons you stated) - I'm seeing it again in NY shortly....but I also agree that Romeo and Juliet wasn't as good....I like the strip down look but the plot and language was a little too stripped...
I didn't realize (haven't gotten past the headlines) that Lloyd is directing Reeves and Winter in Godot. It's a very sweet and funny and bittersweet play, I've seen it a couple times. If the players are engaged with their characters, it will be a lovely show. If they don't play well together, it will be dreary. Reeves and Winter have retained their friendship, they are very charming, it will certainly sell out and I hope they have fun with it.
I've never seen or read Waiting For Godot, but anything w. Keanu Reeves is worth seeing. So I'm sure this will be a hit. BTW If you like The Tempest, a great new orig musical version starring Renée Elise Goldsberry as Prospero was The Delacorte Theater's final production last year. It worked even better w. a woman playing the title role (& the songs were really good!). Hopefully it will be revived somewhere someday. (It was a very limited one-week run.) P.S. shout out to you for your Kamala Harris reference!
MAAN is my absolute favourite Shakespeare play, and I’ve been wanting to see Hiddleston a) return to Shakespeare, b) do a Shakespeare comedy (we know he can do history and tragedy so he now needs to earn his comedy badge) c) play Benedict. I really hope I can get tickets and not just snapped up by the fans! Expectation high - yes.
Regarding Sunset Boulevard on Broadway. I am from nyc and a broadway belter. The commercials for SB have started showing on FaceBook and on nyc theater blogs. She is singing the end of With One Look The Last line is “With one Look I’ll Be . . . Me” She is not belting the last Me she is turning the ME into MAY. Instead of belting the “E” she is turning it into an “A”. In the city that invented Belting this is blasphemy. The whole bway community, which had high hopes is now skeptical of her vocal abilities. NYC is full of vocal coaches who could solve this issue for her. I hope they send her to one. NYC is also full of belters, Male and Female, who can belt and sustain a high B
I personally love Jamie Lloyd productions, Cyrano still being one of my favorite shows ever. I am just hoping his productions don’t become formulative and predictable, which R&J felt a little like that.
Jamie Lloyd is becoming the Michael Bay of theatre director, he had a new exciting vision when he first got big but now it feeling the same. But saying that im gen X if I was in New York I sell my kidney to keanu and Alex. Just like my gen Z son did to go and see Tom H
Waiting for Godoto was already a hit on Broadway with Steve Martin & Robin Williams and since this new production reteams Keanue with Alex, I think it'lll attract more Bill & Ted fans than John Wick fans anyway. In a strange way, I think Bill & Ted fans would quite enjoy Vladimir & Estragon, there's a definite stoner quality to that play which could work very well with these particular leads. I doubt anyone will be going to that play expecting a shootout. As for Much Ado, I've always found it a surprisingly dark play. Even though it's usually played for laughs, it is one of Shakespseare's bleaker comedies which touches on themes of misogyny, suicide, depression, betrayal. It has a lengthy scene in which a father disowns his daughter because he believes she cheated on her fiance which I've always found rather distressing. The scene which follows with Beatrice essentially blackmailing Benedick to murder Claudio is quite dark as well. There's a lot more dramatic heft to that play than it's usually given credit for. Either way, Jamie Lloyd has history with directing comedy. Most notably She Stoops to Conquer back in 2012 which was rather good and witty. As fatigued as I am by his most recent stylings, I don't doubt he can be funny if he wants to be.
Godot can be funny - Nathan Lane's 2009 at Studio 54 was a hoot. Of course, Lane is a comic genius who is hard to duplicate, but I will nevertheless look forward to this subtext-rich couple.
I saw Waiting for Godot in 2009 and it was the most dull thing I've ever seen! My dad fell asleep during it and the whole family went home in awkward silence because we didn't have anything good to say about it. So I am very surprised Keanu Reeves has agreed to be in a production of it! 😂
Interesting he's picked Much Ado as it was done quite recently by the National Theatre. Like you, it's my favourite Shakespeare, although that production wasn't my favourite (although I only saw it in cinemas and something is definitely lost in that process). I was lucky enough to see Ian McKellen and Patrick Stewart in Waiting for Godot in 2009. It was stunning. I knew the play well and this was the first time the pathos and humanity came through alongside the dark humour and existentialist ideas. Before that production I'd been quite indifferent to the play but they gave me one of the best theatre experiences of my life. No idea how Keanu will handle it. I love him but I would say Much Ado wasn't his finest moment. He was so much younger then though. It could be... "excellent".
Stripped back theatre stems from the great director Peter Brook who wrote the classic theatre work 'The Empty Space' and incidentally, directed the John Gielgud Tempest at Drury Lane you mention. though it's well before my time. By the way Jamie Lloyd can do 'very funny' - I saw his production of an early Pinter , 'The Hothouse' at the Trafalgar Studios in 2013, though it was starring that comic genius Simon Russell Beale ( who is also a tragic genius). I agree with you that 'Much Ado ' is one of my favourite plays - though 'Godot' is another of my favourites, I'm surprised you're not a fan. By the way thank you for your fair and balanced reviews - it's refreshing to see a critic who doesn't love trashing things when they get the chance.
I wondered if it was intentional to have a stark setting yourself to be like Jamie Lloyd? Not much hair, no themed shirt and not many themed things behind you...😄
I'm a fan of Jamie Lloyd's approach, but I admit that it doesn't work for every play. I think it'll work for Waiting for Godot and maybe The Tempest, but I'm doubtful about Much Ado.
Keanu Reeves was in the 1993 Kenneth Branagh directed "Much Ado About Nothing" film - one of the weaker performances in that but he was playing against an amazing cast! The combination of him and Alex Winter onstage together will sell out, they could be reading the phone book in turns and people will go watch. I'm intrigued about the idea of actually adjusting the seating in TRDL - surely you couldn't pull the stage forward far without losing sightlines for all the upper levels? It's a huge stage though, so I can imagine Traverse seating with some kind of bleachers upstage. Would be very interesting to see. Also yes, the theatre tour is wonderful! I've been a couple of times and thoroughly recommend to anyone who is interested in theatres!
if theres a genre of theatre to mess with as much as you want, i think shakespeare is it. i havent seen jamie lloyds recent plays, but I think shakespeare is beautifully unbreakable. It's one of my favourite things about it, so i say let him do what he likes. no amount of messing with the play is going to change anyones perception of the plays, or impact future productions of it. i got a £30 ticket to tempest, and im quite intrigued to see how it goes, but its just not the end of the world if its bad. i see as much shakespeare as i can in a year, and some of it is gorgeous (almeidas king lear 2024), and some of it is awful ( kenneth branaughs king lear 2023?), and none of it puts a dent in the perception, history, or content of the plays.
I‘m sorry if this was already discussed before here, but will „Waiting gor Godot“ really be Keanu Reeves Broadway Debut. Somehow I think I remember that he played „Hamlet“ on Broadway which gave him very bad reviews.
This is such an interesting overview of this truly shocking development. It's all very well being inspired by Gielgud but we don't have big classical voices like that these days, so, presumably it will all be amplified massively (JL even does that in the Duke Of York's). And the spectacle (particulary for The Tempest) will need to be huge too - not so easy if it is in the round. I generally avoid his productions as they seem to go for superficial fashion rather than genuine depth but I'll probably go to The Tempest, for the experience of seeing Shakespeare on that massively important site (360 years of theatre), and because its not Disney.
I adored Sunset Boulevard. I have seen pretty much of the UK leading ladies. However, I thought Romeo and Juliet was pretentious and showed Jamie Lloyd to be a one trick pony. I left before the interval. I have registered to see Sigourney Weaver. I have seen 100s and 100s of shows, so now if I don't like the production, I will leave. Love your RU-vid videos!
You wont like it. Choose another show. What is the point of this insufferable complaining but still buying tickets to see something in the exact style you know you dont like?
@emhu2594 It's Lieutenant Ripley! Lol got to see her! I have seen The Tempest years ago at Sheffield Crucible starring Sir Derek Jacobi. It was excellent. I'm hoping Jamie Lloyd does something different. I am not averse to trying new stuff. I loved Sunset Boulevard even though I have adored the elaborate sets previously, and this was stripped back.
Ok but I cannot for the life of me keep him and Ivan Van Hove straight. Who did sunset boulevard? Who did opening night and west side story? They’re the same guy to me.
I'm not a fan. I saw Sunset last year for £30 as I'm under 30. Nicole sounded great, as did the band. However, other than that I would have been really annoyed if I had paid the full ticket price of £120+ to see such a stripped back production. Sunset traditionally a lavish production, but to see blank costumes and a couple of chairs really wound me up. If I'm going to see a show in the West End, I want lavish costumes, sets etc. I saw Hello Dolly! at the weekend and was blown away with the performances yes but also the lavish sets, props and costumes. Always interests me how Jamie always uses big names in his shows. I often think people are going to see them more than the show. See Tom Holland in Shakespeare. Take away the gimmicks and star cast, and I think he'd struggle to sell seats.
I absolutely loved his Cyrano, that was one of the best plays I´ve seen. The Seagull was one of the worst... I did like Romeo and Juliet, but I did wonder if you didn´t know the story, if you could still see what´s its about! He does gets a younger audience to the theatres and gets people talking about his work. Due to necessary travel plans ( I live in Belgium), I think I´m gonna try for tickets to Much Ado and will have to miss the tempest. If I lived in London I would try to see both. I am worried about ticket prices though...
@@emhu2594They recorded Cyrano as part of NT Live so I expect it will turn up on NT@home at some point. Technically, you can find it online, but you'll need an eyepatch, a wooden leg and a bottle of rum, if you know what I mean 😉
I loved his Cyrano and Sunset Blvd. as a Russian, living in UK, I occasionally go to see how the West puts up the Russian theatre. And I wasn’t excited with the ‘Seagull’; for me it fell flat, even with Emily Clark.
I was so excited to see a notice for SIGOURNEY WEAVER in the west end in the Tempest, then the words JAMIE LLOYD, what to do, I am-a a big Shakespeare fan, Branagh massacred king Lear in the west end a few months before Romeo&Juliet which was empty of any directorial direction. So what does a Shakespeare & SWeaver fan do, ignore the past and hope for JL to have an idea or just not go?
I hate Beckett with a passion as someone into theatre and an English graduate but I am keen to see Godot with Alex and Keanu just to see what they bring to the piece in performance. I hadn't considered the possible ramifications of that casting before you mentioned and admit I am now in 2 minds about trying for ticket as the last thing I would want is to fly over to NYC, pay a fortune for my ticket and have my experience ruined by some Keanu fangirls moaning about wtf they have come to see etc or things even worse than that.
Star casting never has much sway on me, I either want to see the thing or I don’t, but I would go see anything if it has Keanu Reeves and Alex Winters together in
I wanted to like “Cabaret.” The physical transformation of the theatre was superb (to see). Eddie Redmayne’s visual take wasn’t pretentious but had a basis in truth but the Sally Bowles biz was pretentious to be ponderous. Miranda Richardson’s Sally was pertly rough and raw for her impossibly possible success as a singer save but her audacity and guile. The NEW Sally had the allure of a meth head in withdrawal.
Having seen Cyrano (one of my all-time favourites) and The Seagull (the exact opposite 🤷♀️), and watching reviews of his other works, I have a pretty good idea about what we can expect. Honestly, it would take supreme casting choices to get me to buy a ticket and book a flight. And for me, none of these are quite worth my time and money. I've seen Much Ado with David Tennant and Catherine Tate and I doubt this production can keep up with my expectations. Also, by adding yet another charming not-too-complex good guy character to his CV, Tom Hiddleston is putting one of the last nails in the coffin of me ever seeing him as a versatile actor 🤷♀️ As to The Tempest, I'm willing to wait for someone else to take a stab at it.
Loki and Agent Carter in Much Ado I give a 10 out of 10. Sigourney as Prospero I'm there. Just wonder if Benedict will have Loki's snark and Beatrice have Agent Carter's feminism or ....
As a resident maker of the 'does Jamie Lloyd ever sleep?' joke person, I am still willing to shill out a lit of money to see my favourite actor in one of my favourite Shakespeare plays but I feel like I'll be 'putting up with' the Jamie Lloyd of it all - my main hope is that he holds his style back a bit and lets Much Ado actually be funny and spark without relying on his gimmicks (e.g please let him put some COLOUR into the design). The Tempest feels like more of a 'Jamie Lloyd' play from the drawing board.
Also, am I bitter that the Hercules music has made it to the West End when the fantastic off-broadway Hunchback of Notre Dame got left in the dust? MAYBE A LITTLE.
@@ClaireWritesSometimes I don't understand how pocahontas has been completely ignored for adaptation to a musical. It is more relevant now than ever in terms of race and environmentalism, and it has a huge potential to show growth...in the right hands... in that they can fix what made the movie problematic.
Can I say Tom Holland - ie Marvel Star Then have Tom Hiddleston and Hayley Atwell - Both Marvel Stars Does this say they are looking for the marvel audiences? x
Cyrano = great / Sunset = damn good / regretfully didn't see Assassins --- but Cyrano and Sunset relied heavily on what amounted to outright shock. The director as star is, to me, in the long run, suspect. Romeo, in spite of all the whispering and heavy breathing, screamed as loudly as a middle-aged person trying to squeeze into their 15th birthday finery -- Doll's House and Seagull paid diminished dividends. Are the microphones, screens, and cameras or the anti-spectacle of actors contemplating their navels really enhancing the actor's connection with the audience? Or do they make the unique experience of live theatre less live? An NTLIVE capture of one of their shows, which usually respect the live experience, can seem more live than a less than top drawer surprise of a Jamie Lloyd production. Working on new scripts might be more compatible than continuing to beat existing scripts into submission to your particular staging style. Jamie Lloyd strikes me as a punk and lesser version of Ivo Van Hove, who has the ability to create work of more intellectual complexity. (I prefer Van Hove.) Maybe with continued theatre success Jamie Lloyd can raise enough money film the movie he seems to want to make. ---- But it's great that Jamie Lloyd agreed to direct this video -- he is obviously a powerful directing force to get you to shave your head.
The issue with directors like Jamie is that they take one idea and use it over and over again in every production until audiences are no longer amused. He is a one trick pony.
Jamie Lloyd has a very distinct style that works for a tragic story but doesn't work for lighthearted comedy which in my opinion is why his Romeo and Juliet doesn't work.
He is my favorite director. He has directed the single best Assassins, Urinetown and Sunset I have ever seen (and I've seen those shows a lot). Loved his Passion, Betrayal and The seagull. But... I hate Godot, so even though I love him, this winky out-of-the-box casting sorta screams gimmick-over-substance...so I think I might miss it...
i don't love his staging too much. he will get bashed by usa musical critics. most boring director, nicole s helped him alot. sunset boulvard was just revived on broadway. nicole s has been forgotten since 2005 and will always be known as a pussycat doll girl group.
I really think Jamie fumbled the bag with Romeo and Juliet because it felt like he wanted to do a stripped back and REAL version of Romeo and Juliet and it seems like he delivered a stripped back and fake version. Like, it felt like he was going to bring a bunch of violence and yelling and blood to the stage, but it ended up being minimal blood and whispers. I thought the show was going to be brutal and loud and bright but it ended up being not what was promised- which if that’s what he wanted to do, that’s his choice! But I’m just disappointed that he’s going this way instead.
I am so fed up of JL the nothing on stage is an empty promise to the audience, empty of ideas, empty of narrative and complete disregard to the authors words. R&J was a disaster, the acting saved it but the staging was empty of insight or originality. Jamie Lloyd has quickly become a one trick pony,
I'm so sick of Jamie Lloyd. I want to go back to the 80s, when the tickets were more affordable and you really got your money's worth, with lavish staging and vast spectacle. Now you pay more for less, and less is no longer more, as we've seen it all before! At least in the 80s they were still coming up with new and imaginative ways to SPEND money, rather than SAVE it!
@@kitsworld it's too bad that some people can't adapt and enjoy new and different things. If you want to live in the past, there are plenty of options for you. stop complaining like old man yells at cloud. A lot of people enjoy it when done well.
@@emhu2594 It's true, I struggle to adapt. I have autism. I like what I like. I don't see why I should adapt to suit you or anyone else. Do you make any effort to adapt to me? I've already said I'm old. Instead of accepting that, you chose to attack me for it. Why? Because I don't like what you like? We were invited to discuss this topic in the comments. I offered my opinion in good faith. And you chose to beat-up on a disabled old man, rather than accept my differences. I have been a professional in theatre film and TV since the 80s. It was my heyday, before disability forced me to retire. I have insights and experiences that I could share. But you're not interested in any of that because you already think you know everything. Good luck with that.
@@kitsworld You don't like the entire genre, your opinion is obviously going to be negative. This adds literally nothing to a discussion of the shows but negativity. I have no interest in drag shows but I would absolutely not complain about the entire genre to people that like it. I would not comment at all.
Obviously you have not seen enough Keanu Reeves. Man is the most bland and nothing actor imaginable. If that’s your view of waiting for Godot (and I’d lean towards similar myself) than he seems perfect for it!
I'm not sure that's true - as I explain in the video when discussing his extensive work, but that aside I don't think theatrical merit is judged purely on what shows look like.
i'm definitely done with JL productions. same formula. huge star. empty stage. black and white. same esthetic. looks like soulless money making enterprise.
