What did you think of the show?
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theatreguys 
Dealers Choice
An outstanding production with an excellent cast . We thoroughly agree with Andrew’s excellent review .Mugsy ever the optimist was delighted that he won the princely sum of £7. The play shows how easy it is to become addicted to gambling as maybe the next hand shall be the winner .
The Donmar never fails impress with their productions and the intimacy of this little gem of a theatre makes it an immersive experience.
Thank you Fredo and Mike for opening our eyes to so many diverse theatre opportunities .
Good journey both ways thanks to Bill
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Dealer’s Choice
This was a wonderfully written and brilliantly acted production. The banter amongst the restaurant staff as they prepared for their weekly after hours poker game contained both sharp, and sometimes cruel humour, together with some seriously emotional pathos.
The cast were all extraordinarily good, making it more than usually difficult to single an individual member out for praise, but
Hammed Animashaun, an actor of whom I had never heard before, was outstanding as the ever optimistic “Mugsy”, stealing almost every scene in which he appeared. His efforts to obtain investment to convert an abandoned public convenience into a restaurant, were quite hilarious.
The first act was used to introduce the individual cast members together with their thoughts and ambitions. The second act was taken up by the poker game itself. The sinister Ash, a professional poker player, and the only member of the card school not employed at the restaurant, joined the group and began to “clean up”. He had lent money to the restaurant owner’s son who, unable to pay him back, had invited him to the game , convincing him that he would easily win sufficient money to cover the debt. Needless to say this did not work as planned.
It was interesting, if unsurprising to note, that the tone and intensity of the banter changed with the pressure of the game. As fortunes ebbed and flowed, mostly ebbed, one by one players left the game in varying degrees of frustration. Sweeney, the head chef, was due to meet his estranged daughter the following day so he had not intended to join the game as he needed his money for “treats“. But he eventually succumbed to the pressure and inevitably lost all of his money. He stormed away from the game. This elicited a viciously cruel comment from Stephen, the restaurant owner which drew audible gasps from the audience along the lines of, “well you could take her to one of the museums as they have free entry”. Stephen instantly regretted the remark, and chased Sweeney up the stairs to give him some money.
As the production came to a close three players were left. The inevitable “Mugsy”, thrilled with his winnings of £7 departed in triumph. Ash and Stephen. Ash, who had lost a large amount to Stephen, demanded that Stephen gave him the money back that was owed to him by Stephen’s son. Ash finally bullied Stephen into parting with the cash, which Ash himself owed to another game. The final scene was an highly emotional argument between Stephen and his son, as the son had promised to try to break his gambling habit.
As the actors came forward to to take their bows, I was sitting in the front row right by Daniel Lapaine, who played Stephen. I could that the tears from the argument his son were still running down his face.
I would have hugely enjoyed watching this production at home on TV. But feeling actually part of it in the wonderful immersive environment of the Donmar was a real privilege.
Again many thanks Fredo and Mike. This is one that will live in the memory.
Andrew
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Dealer’s Choice
This was a wonderfully written and brilliantly acted production. The banter amongst the restaurant staff as they prepared for their weekly after hours poker game contained both sharp, and sometimes cruel humour, together with some seriously emotional pathos.
The cast were all extraordinarily good, making it more than usually difficult to single an individual member out for praise, but
Hammed Animashaun, an actor of whom I had never heard before, was outstanding as the ever optimistic “Mugsy”, stealing almost every scene in which he appeared. His efforts to obtain investment to convert an abandoned public convenience into a restaurant, were quite hilarious.
The first act was used to introduce the individual cast members together with their thoughts and ambitions. The second act was taken up by the poker game itself. The sinister Ash, a professional poker player, and the only member of the card school not employed at the restaurant, joined the group and began to “clean up”. He had lent money to the restaurant owner’s son who, unable to pay him back, had invited him to the game , convincing him that he would easily win sufficient money to cover the debt. Needless to say this did not work as planned.
It was interesting, if unsurprising to note, that the tone and intensity of the banter changed with the pressure of the game. As fortunes ebbed and flowed, mostly ebbed, one by one players left the game in varying degrees of frustration. Sweeney, the head chef, was due to meet his estranged daughter the following day so he had not intended to join the game as he needed his money for “treats“. But he eventually succumbed to the pressure and inevitably lost all of his money. He stormed away from the game. This elicited a viciously cruel comment from Stephen, the restaurant owner which drew audible gasps from the audience along the lines of, “well you could take her to one of the museums as they have free entry”. Stephen instantly regretted the remark, and chased Sweeney up the stairs to give him some money.
As the production came to a close three players were left. The inevitable “Mugsy”, thrilled with his winnings of £7 departed in triumph. Ash and Stephen. Ash, who had lost a large amount to Stephen, demanded that Stephen gave him the money back that was owed to him by Stephen’s son. Ash finally bullied Stephen into parting with the cash, which Ash himself owed to another game. The final scene was an highly emotional argument between Stephen and his son, as the son had promised to try to break his gambling habit.
As the actors came forward to to take their bows, I was sitting in the front row right by Daniel Lapaine, who played Stephen. I could that the tears from the argument his son were still running down his face.
I would have hugely enjoyed watching this production at home on TV. But feeling actually part of it in the wonderful immersive environment of the Donmar was a real privilege.
Again many thanks Fredo and Mike. This is one that will live in the memory.
Andrew
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My Master Builder
We thought this well crafted play was better than some of the critics. We viewed it as a stand alone piece of work. Ewan excelled throughout and so did Kate and the rest of the cast. The complexity of relationships was increasingly revealed in a well delivered and engaging plot that had us absorbed from start to finish.
Thank you, again, to Fredo and Mike.
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My Master Builder
My my…how that little word makes a difference! This play has caused much discussion among different viewpoints, those wanting Ibsen and those happy to go along with this Ibsen rewrite, “a brand new play inspired by Ibsen”. My first reaction was Why? Why would Lila Raicek (writer of tv’s ‘Gossip Girl’) want to set themselves up as an Aunt Sally to experienced theatregoers by rewriting Ibsen, an Ibsen-lite version of his play for audiences finding the original too heavy-going? If you want to write a Netflix-type glossy drama of sex and the moneyed class, either plagiarise a playwright of your own populist standing or preferably think up a drama for yourself. I suppose the answer is Money, Popularity, and the kudos earned by having a play in the West End. Then Broadway?
And similar questions might be asked of director Michael Grandage. Well, a reasonable answer to that is he wanted to work with Ewan McGregor again, after his very fine production of ‘Othello’ 18 years ago at the Donmar. The role of the master builder, an attractive man of ability and stature, suited McGregor, but did this part in this play suit him? As much as I appreciated his performance, I thought he seemed to be in a different play to the others. He pulled out all the stops by the end, but until then looked…erm…smaller than the other characterisations.
Ibsen is sometimes admired for his feminist credentials, giving credence to a woman’s point of view as he did with Nora in ‘A Doll’s House’, and so another reason for ‘My Master Builder’ I assume was to place its female characters centre stage. Ms Raicek certainly did that, with the wife, assistant and girlfriend firing on all cylinders – super up-front performances from all three. But feminist? The wife was an outright bitch that any man could do without, and the other two equalled their men’s questionable behaviour. Is that what equality means these days? This was a feminist slant to help sell tickets to those who knew nothing of Ibsen.
And sell tickets it has! The house was full, even with a top price of £164 from one agency, for seats just along the row from my £67 discounted group-price ticket. I couldn’t bring myself to stand for the ovation, but despite what I have said here, I did enjoy the experience…on the level it was intended, the level of a glossy entertainment, exceedingly well presented by a top rated production team and respected actors.
Afterwards I went around to the stage door to observe the clambering fans waiting for autographs and selfies. All the main actors obliged in good spirts, and evidently a ‘good time’ was had by all, on and off stage. By comparison, the Noel Coward Theatre (which is playing The Comedy About Spies) backing onto Wyndham’s ended its performance at the same time. It has no big-name stars and had not a single fan waiting at the Stage door. That’s showbusine££.
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My Master Builder.
Monica and Robin.
After reading the not so good reviews it was a VERY pleasant surprise to find just how good the production was and the outstanding acting. Glad to see some standing ovation. Did they read the reviews and ‘upped their game’?!
Thank you Fredo and Mike for another most enjoyable, interesting bit of theatre.
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My Master Builder
When I first saw the advert for this production starring Ewan McGregor and directed by Michael Grandage I thought it was Ibsen’s original play. A closer look at the ad confirmed the play was by the little known Lila Raicek and “adjacent” to Ibsen’s work. Nevertheless, it was an interesting prospect and a chance to see the charismatic McGregor back on the London stage after an absence of many years.
However, as the play progressed, with the story transported to the stylish modern home in the Hamptons of Henry, a “starchitect” (McGregor) and his wife Elena, a publisher (Kate Fleetwood) the playwright’s background in writing for television becomes more evident. The action moves quickly and the relationships between the characters (who now include Kaia, Elena’s assistant; Ragnar, Henry’s rival; and Mathilde, with whom Henry had an intense relationship around the time his and Elena’s son died in an accident) become more and more complex. The role of women and how their ability to advance and achieve success is overshadowed by the men in their life is also discussed at length. At times, it feels like one of those glossy soap opera type shows on Netflix or Appletv: beautiful people having a difficult time in sumptuous surroundings while the rest of us admire their stylish outfits from afar.
On its own merits, the play is involving and affecting and the actors give it their best but I’m not sure what it has to do with Ibsen’s own, flawed work. The cynical part of me wonders whether Messrs Grandage and McGregor and their producers would have been interested in putting on a play by an little known playwright without that association but perhaps I’m being unkind. It’s good to see McGregor back on the London stage but I hope next time, if there is a next time, it’s in a play that makes better use of his talents.
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My Master Builder
So enjoyed the play with excellent acting especially from Ewan Mcgregor. A real treat especially as the play had been given poor reviews. Sometimes it`s better to ignore the critics!! Not always very clear speaking ,talking across the stage instead of out to the audience.
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My Master Builder
Willing suspension of disbelief and all that, but was I supposed to find much truth in this play? Was it a Greek tragedy or a sort of Whitehall farce? Judged by the scampering pace of the dialogue, the fortuitous eavesdropping and the triangulating relationships, more of the latter perhaps.
Categorisation queries aside, it was a sleek production, from the set, full of double-glazing window frames, to the glittering party frocks. The wattage of the drama varied somewhat, but I did enjoy the dynamic that Kate Fleetwood gave to Elena and the natural comedic quality of David Ajala as Ragnar. Elizabeth Debicki’s Mathilde was a veritable ice maiden. I didn’t find Ewan McGregor wholly convincing as a supposedly dominant creative, though of course Henry is something of a broken man from the off and we are there to see his troublous past catching up with his troubled present.
Unlike others, I’m afraid I didn’t struggle out of my seat to award a standing ovation.
Garth
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My Master Builder
There was a lot of chatter about Ewan Mcgregor in this role, but I found him engaging, believable and powerful. The first act set up nicely the second act. Not a word was wasted. Kate Fleetwood was a stand out, to me, for her carefully crafted route to put a fire under her marriage. She was spiky, truthful, occasionally cruel but ultimately showing a woman who was just tired of being overlooked, sidelined and forever in the long shadow of her husband.
Elizabeth Debicki was fragile, ethereal and the pawn in this dinner party from hell. The much commented upon height difference between the builder and his student made no difference to their relationship.
Tall and short people can love each other!
To watch and listen to a beautifully crafted play was a joy. I could hear every single word.
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The Brightening Air
I wanted to say how much we enjoyed The Brightening Air.
The seats were superb and so we didn’t miss a thing.
It always seems unfair to praise one performance over another as they were all outstanding and it is rare to see an ensemble who are such a complete fit. However Rosie Sheehy was even more outstanding than ‘outstanding’ and when she paraded in that sparkly jacket her expression of pride reminded me of my cousin’s daughter ‘s pride parading in sparkly clothes one Christmas.
One to remember thanks to you.
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It was a delight to see The Brightening Air – after the sound issues were sorted, and I got used to the strong Irish accents, I enjoyed it a lot, great acting and an interesting thought-provoking play.
Many thanks for arranging!
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The Brightening Air
An engaging and emotion evoking production with intense, high quality, performances from the cast.
As we got to know the characters better and the twists and turns of the plot were revealed, the tension grew but well placed humour helped to relieve the growing pressure. The play ended at a faster pace and left the feeling of much to be resolved but perhaps that level of perturbation was the intent. We are glad to have gone.
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I have nothing to add to the already forensic reviews and I too enjoyed this play, my kind of theatre. The first half was fully engaging, but in the second half I felt adrift and let down, as one does with an enjoyable book with a lame ending. Less enchanted by Rosie Sheena’s performance, which I found jarring, but for me Chris O’Dowd lit up the stage, he was superb as the flawed Dermot.
A complex and interesting play, and once again I am indebted to Fredo and Mike for putting this on my radar.
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The Brightening Air
All has been said in previous comments .The coming together of a dis functional Irish family some returning to their family home .Rosie Sheena was outstanding as Billie who was on the autistic spectrum. .Didn’t find the play one I’d rush to see again a bit drawn out.John more engrossed than me !
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An acknowledged nod to Chekhov…The first half has a slow burn feel to it; bringing together in the run down family home, and introducing to us the members of a 1980’s dysfunctional family each of whom has their own troubles and woes.
The 3 siblings – Dermot who is in a mid life crisis, Stephen angry at not having found love and resenting his loss of opportunity, instead, having to look after his vulnerable younger sister Billie, who is on the Autistic spectrum. Introduce Uncle Pierre, a blind, discredited priest…who preaches his radical, dark religious theories with fervour. Lydia, Dermot’s long suffering wife and Freya, Dermot’s latest and indecently young, love interest. What could go right……
Well, the second half allows each of the characters to develop and deliver and between them they expose the family tensions around the balance of power.
The harshness of rural Irish life is revealed with dark humour, and then there is the reliance on the myths and legends around the potential of magical waters – even with muck in it!
It is very obvious that no member of the family is happy – although Uncle Pierre does regain his sight…but for me, the play didn’t resolve. I believe that Connor McPherson acknowledges that his latest work was rushed at the end and that perhaps he should not have directed it too.
However, that does not detract from the outstanding performances of all the cast but especially in my view Rosie Sheehy who played Billie.
Thank you Fredo & Mike for expanding our theatrical horizons once again. Much appreciated.
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The Brightening Air
I agree with Jennifer: the plot twist and the writing could be improved but the play made a big emotional impact nevertheless. It does have a chekhovian feel though the characters show more anger, frustration and violence. Having only seen The Weir, I was expecting something sad and warm hearted and felt quite wrung out by the end! The acting was exceptional: Rosie Sheehy gave a volcanic performance but they were all excellent, giving their all even in a matinee. I wonder how they found the energy for the evening!
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The Brightening Air
When the Old Vic announced that Conor McPherson had been asked to write and direct a new play for the theatre (possibly as a result of the runaway success of Girl from the North Country) anticipation was high. McPherson’s story concerns a sprawling family of Chekovian characters living in County Sligo in the 1980s: the adulterous, financially successful older brother, his lovelorn wife and younger girlfriend; two younger siblings struggling to manage the family farm; the uncle who’s a defrocked priest, his housekeeper and, finally, the young farmer who has a crush on one of the siblings. Keep up at the back!
The first act works hard to establish the characters and their relationships and gives each of the talented actors a chance to shine with clever, poignant dialogue revealing their sadness and quiet desperation. And there’s mysticism and possible witchcraft thrown in for good measure. However, in the second act, the plot goes off the rails with a poorly explained twist which left me bemused rather than beguiled, The actors do their best to wade through the over stuffed storyline but it’s hard going.
In an interview earlier this year, McPherson explained that he hadn’t yet finished writing The Brightening Air and, at times, the rushed nature of his writing was exposed. It’s also possible that a different director could have helped to focus the action. This play could be a gem but needs further polishing if it’s to be added to the canon.
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The Brightening Air at the Old Vic
This new Conor McPherson play focused on themes of loneliness and loss in rural Ireland in the 1980’s. It was a heartbreaking exploration of family tensions and failed relationships, beautifully and sensitively acted and ultimately pessimistic. Some lighter moments of humour were well-paced and the foolishness of the characters affectionately conveyed. Outstanding performances by Hannah Morrish and Brian Gleeson deserve particular mention for their subtle portrayal of despair. The plot was tenuous and didn’t resolve satisfactorily but that scarcely detracted from a moving and compelling production.
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BRB celebration
A lovely new venue, perfect seats and a refreshing and innovative way to showcase extracts from various ballets, Scherezade being my favourite too. The young dancers should be congratulated on their poise and maturity and were given the opportunity at Sadlers Wells East to show what they were capable of. I look forward to seeing many more performances there – especially if we get the opportunity to go backstage! Many thanks Fredo and Mike for making this visit possible.
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