mrsronweasley (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
mrsronweasley) wrote2008-06-11 11:55 am
mrsronweasley) wrote2008-06-11 11:55 am
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaah!
But I realized yesterday that I haven't felt this way about any work of art/entertainment/anything in a really long time, and I really, really want to talk about it.
NO, it isn't Supernatural. It's "The History Boys".
More precisely, the production that Tracey and I saw last Friday. It was - unbelievable.
I was telling![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
prettyannamoon in a comment about it, and realized that I am just DYING to talk about it, to EVERYONE. I can't stop THINKING about it. You know that bubbling feeling in your stomach that you get at the very beginning of an infatuation, that excited-nervous-can't-stop-thinking-about-it ripple? That's me, right now. And I haven't felt this way about ANYTHING since, I believe, At Swim, Two Boys. (For those of you who've known me long enough, you know what THAT means. /o\ ANNA, SEE THIS PLAY.)
It was just. It was an amazing live theatre experience. I mean, I KNEW I loved the play (even though I realize that things were changed immensely for the film, right? At least the ending? I keep meaning to just BUY the play and read it, but I'm still all wrapped up in the production.) But this production, from beginning to end, was fucking incredible.
I mean, it wasn't perfect. The actor who played Dakin was GOOD, really good, but sometimes too affected in his facial expressions, to the point of slightly throwing me out of the play every now and then. (Though I did spend the first act wrecking my brain for who he reminded me of and realized, in the intermission, that it was none other than Jonathan Rhys-Meyers,ANNA, SEE THIS PLAY.) Hector was marvelous, but very different from how Richard Griffiths played him in the movie - and RG moved me more. He was sadder, somehow, more beaten down by life, so that when he finally broke down and cried in the classroom, it tore me up inside. In the staged production, it was harsh, but differently. That Hector was stronger.
The scenes I was most worried about in the production were these:
The one on one between Hector and Posner, and the one on one between Dakin and Irwin, in the end.
I needn't have worried. I still love the Hector and Posner scene in the film better (mostly because, like the crying scene, Richard Griffiths acts the HELL out of it. He is so amazing, I don't know how anybody can act like that. He is so human, and vulnerable, and sad, and the perfect reflection of what Posner will become - two sad men who can never quite find their normal, if not rightful, place in life. In the movie, it's like they mirror past and future reflected in the same person, staring at each other through time.) But it was still amazingly done on stage, with Posner a lot more eager to just HEAR what Hector is saying, so desperate to connect. *shivers*
And omg, the scene between Dakin and Irwin in the end. Oh my God. The sheer - want and tension and lust in that scene was incredible. They didn't touch ONCE, and I felt like I was going to melt from the heat. There is one part in particular that both Tracey and I loved that made it go from "omg tension" to "OMG PLEASE KISS RIGHT NOW EXCEPT DON'T BECAUSE THIS IS HOTTER NNNNRGH".
See, they're standing really close to each other, not saying a single word, just looking, and then Irwin invades Dakin's space simply by placing his foot between Dakin's. And it's like a a taut string being plucked. It's incredible. I don't think anybody in the theatre even breathed through that part. It was so simple, and just the hottest, most erotic thing I had ever seen. Just thinking about it is making me shiver.
Everybody in the play is incredible, and different, and STRONG. (Though nobody can beat Frances de la Tour as Tot, NOBODY. *loves her*) The beginning is like a rush of pure energy through the stage, and it doesn't let up from there. I wish this production would stick around forever, I wish that I had unlimited funds and time, so I could study it, all of it, like re-reading a book. I'm just BUZZING with my love for it. I even had a dream, afterwards, that I got to see the set again - even just seeing the SET would make me happy, apparently!
So if there is anybody in Boston who can afford to drop 30-50 bucks to see this AMAZING PRODUCTION, PLEASE DOANNA, SEE THIS PLAY. They're playing through June 22nd, and it is worth every penny. Ever. Seriously. Go, take someone with you, SEE IT. (ANNA.)
It's just so smart, and evocative, and brilliant, and everything I love about literature. And theatre. And yes. Hold me.
P.S. Totally unrelated: my uncle emailed me a bunch of lolcat pictures. In Russian. I'm pretty sure this means the end is nigh.
NO, it isn't Supernatural. It's "The History Boys".
More precisely, the production that Tracey and I saw last Friday. It was - unbelievable.
I was telling
prettyannamoon in a comment about it, and realized that I am just DYING to talk about it, to EVERYONE. I can't stop THINKING about it. You know that bubbling feeling in your stomach that you get at the very beginning of an infatuation, that excited-nervous-can't-stop-thinking-about-it ripple? That's me, right now. And I haven't felt this way about ANYTHING since, I believe, At Swim, Two Boys. (For those of you who've known me long enough, you know what THAT means. /o\ It was just. It was an amazing live theatre experience. I mean, I KNEW I loved the play (even though I realize that things were changed immensely for the film, right? At least the ending? I keep meaning to just BUY the play and read it, but I'm still all wrapped up in the production.) But this production, from beginning to end, was fucking incredible.
I mean, it wasn't perfect. The actor who played Dakin was GOOD, really good, but sometimes too affected in his facial expressions, to the point of slightly throwing me out of the play every now and then. (Though I did spend the first act wrecking my brain for who he reminded me of and realized, in the intermission, that it was none other than Jonathan Rhys-Meyers,
The scenes I was most worried about in the production were these:
The one on one between Hector and Posner, and the one on one between Dakin and Irwin, in the end.
I needn't have worried. I still love the Hector and Posner scene in the film better (mostly because, like the crying scene, Richard Griffiths acts the HELL out of it. He is so amazing, I don't know how anybody can act like that. He is so human, and vulnerable, and sad, and the perfect reflection of what Posner will become - two sad men who can never quite find their normal, if not rightful, place in life. In the movie, it's like they mirror past and future reflected in the same person, staring at each other through time.) But it was still amazingly done on stage, with Posner a lot more eager to just HEAR what Hector is saying, so desperate to connect. *shivers*
And omg, the scene between Dakin and Irwin in the end. Oh my God. The sheer - want and tension and lust in that scene was incredible. They didn't touch ONCE, and I felt like I was going to melt from the heat. There is one part in particular that both Tracey and I loved that made it go from "omg tension" to "OMG PLEASE KISS RIGHT NOW EXCEPT DON'T BECAUSE THIS IS HOTTER NNNNRGH".
See, they're standing really close to each other, not saying a single word, just looking, and then Irwin invades Dakin's space simply by placing his foot between Dakin's. And it's like a a taut string being plucked. It's incredible. I don't think anybody in the theatre even breathed through that part. It was so simple, and just the hottest, most erotic thing I had ever seen. Just thinking about it is making me shiver.
Everybody in the play is incredible, and different, and STRONG. (Though nobody can beat Frances de la Tour as Tot, NOBODY. *loves her*) The beginning is like a rush of pure energy through the stage, and it doesn't let up from there. I wish this production would stick around forever, I wish that I had unlimited funds and time, so I could study it, all of it, like re-reading a book. I'm just BUZZING with my love for it. I even had a dream, afterwards, that I got to see the set again - even just seeing the SET would make me happy, apparently!
So if there is anybody in Boston who can afford to drop 30-50 bucks to see this AMAZING PRODUCTION, PLEASE DO
It's just so smart, and evocative, and brilliant, and everything I love about literature. And theatre. And yes. Hold me.
P.S. Totally unrelated: my uncle emailed me a bunch of lolcat pictures. In Russian. I'm pretty sure this means the end is nigh.
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