Un matin d'été en 1988, un politicien conservateur et sa femme commencent à déterrer des secrets enfouis.Un matin d'été en 1988, un politicien conservateur et sa femme commencent à déterrer des secrets enfouis.Un matin d'été en 1988, un politicien conservateur et sa femme commencent à déterrer des secrets enfouis.
- Réalisation
- Scénario
- Casting principal
Avis à la une
'National Theatre Live: Hansard' (2019)
Opening thoughts: Simon Woods' debut play 'Hansard' is uneven. It is very entertaining and intriguing with two strongly written lead characters and a great final half an hour. It is also though very slight structurally, at times uneventful even with a very heavy emphasis on banter and political stabs, and has a few too many last minute revelations. Have been impressed by a lot of Simon Godwin's other work, and also have a very high opinion of both Alex Jennings and Lindsay Duncan. Which, as well as my admiration for many of the National Theatre Live broadcasts, were my two main reasons for watching this 2019 production.
Like the play itself, this production of 'Hansard' is uneven. It entertains, it intrigues, it illuminates and is incredibly well acted. Just that the slightness of the play's dramatic structure does show in the staging, it would have been very difficult to make the drama more eventful and that is not achieved enough. As far as the 2019 National Theatre Live productions go, 'Hansard' is the weakest. Speaking as someone who absolutely loved 'Fleabag', 'A Midsummer Night's Dream' and 'All My Sons' and who really enjoyed 'Present Laughter'.
Good things: Of course there are great things. Jennings and Duncan are both superb, Jennings has the harder character to pull off, with him being a character with very detestable traits, but manages to give vulnerability and depth. Duncan, who really makes her character go on a journey in development and emotion, is touching in the final half an hour, which is where the production is at its strongest. This portion,which takes on a more tragic tone, was movingly powerful and in a way not seen before up then. Their chemistry crackles.
Woods' dialogue is sharp, funny, bitingly cynical (some of it shocking me in its bite and frankness) and thought provoking, all embodied in all the line delivery throughout. It is a very handsome production, not too elaborate but nothing looks cheap. The video directing is intimate while not being claustrophobic.
Bad things: For all those good qualities, Godwin's direction did feel too safe and at times aimless, a lot of wandering around but for little reason. It would have been nicer for the emotional elements to be brought out more, considering how well it was done in the final half an hour, all the political stabs were fun and biting to begin with but got repetitive later on.
Not many surprises in a production that did start feeling on the predictable and tired side later.
Concluding thoughts: Summing up, well done but could have been better.
7/10.
Opening thoughts: Simon Woods' debut play 'Hansard' is uneven. It is very entertaining and intriguing with two strongly written lead characters and a great final half an hour. It is also though very slight structurally, at times uneventful even with a very heavy emphasis on banter and political stabs, and has a few too many last minute revelations. Have been impressed by a lot of Simon Godwin's other work, and also have a very high opinion of both Alex Jennings and Lindsay Duncan. Which, as well as my admiration for many of the National Theatre Live broadcasts, were my two main reasons for watching this 2019 production.
Like the play itself, this production of 'Hansard' is uneven. It entertains, it intrigues, it illuminates and is incredibly well acted. Just that the slightness of the play's dramatic structure does show in the staging, it would have been very difficult to make the drama more eventful and that is not achieved enough. As far as the 2019 National Theatre Live productions go, 'Hansard' is the weakest. Speaking as someone who absolutely loved 'Fleabag', 'A Midsummer Night's Dream' and 'All My Sons' and who really enjoyed 'Present Laughter'.
Good things: Of course there are great things. Jennings and Duncan are both superb, Jennings has the harder character to pull off, with him being a character with very detestable traits, but manages to give vulnerability and depth. Duncan, who really makes her character go on a journey in development and emotion, is touching in the final half an hour, which is where the production is at its strongest. This portion,which takes on a more tragic tone, was movingly powerful and in a way not seen before up then. Their chemistry crackles.
Woods' dialogue is sharp, funny, bitingly cynical (some of it shocking me in its bite and frankness) and thought provoking, all embodied in all the line delivery throughout. It is a very handsome production, not too elaborate but nothing looks cheap. The video directing is intimate while not being claustrophobic.
Bad things: For all those good qualities, Godwin's direction did feel too safe and at times aimless, a lot of wandering around but for little reason. It would have been nicer for the emotional elements to be brought out more, considering how well it was done in the final half an hour, all the political stabs were fun and biting to begin with but got repetitive later on.
Not many surprises in a production that did start feeling on the predictable and tired side later.
Concluding thoughts: Summing up, well done but could have been better.
7/10.
Meilleurs choix
Connectez-vous pour évaluer et suivre la liste de favoris afin de recevoir des recommandations personnalisées
Détails
Box-office
- Montant brut mondial
- 1 315 564 $US
- Durée
- 1h 20min(80 min)
- Couleur
Contribuer à cette page
Suggérer une modification ou ajouter du contenu manquant