Gielgud Theatre
35 Shaftesbury Avenue
London, W1D 6AR
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Opened: 20 Jun 2017
Booking from: 25 Jul 2017
Booking until: 06 Jan 2018
Duration: 3 hours

26 Jul 2017


28 Jul 2017


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  • braintree 155cm female 32 reviews 5 helpful votes
    80% total rating The Ferryman, 26th June 2017
    This production is a hot ticket, with a critically acclaimed writer in Jez Butterworth (Mojo, Jerusalem) and a household name theatre and award winning film director (trust me this is a rarity) Sam Mendes at the helm was it going to be anything else. Even before Paddy Considine was cast as Quinn, patriarch of a large Catholic family in Northern Ireland whose foundations are rocked by the discovery of his brother’s body who disappeared 10 years before. I will be blunt; I am utterly baffled by the 5 * reviews and even more baffled when I read them. There are clear flaws, acknowledged by some reviewers, yet it is treated as a ‘perfect’ production. This is an interesting work, made more poignant as Northern Ireland finds itself in the news as the DUP become a ‘partner’ in British Government but spectacular it is not. THE FERRYMAN Laura Donnelly and Paddy Considine The issue is that it wants to be this epic, with 20 characters it certainly achieves that but it feels like Butterworth wrote lots of different plays; a man in love with his sister-in-law, a generation who never recovered from the Easter Uprising, The Northern Irish relationship with the English and with each other, Young Catholics finding their place in a war zone, the hunger strike, a marriage breaking down and on it goes feeling more and more disjointed as the 3 hours (yes) go on. I saw many cuts I would have made, certain characters as well as certain storylines and relationships but I appreciate and understand why Butterworth needs so much. The story of the disappeared, which sadly gets lots amongst the kitchen sink drama, is a story rarely told, the psychological impact of your side turning against you and keeping quiet for an easier life as Caitlin, Quinn’s sister in law and wife of Seamus his disappeared brother played beautifully by Laura Donnelly, who I adore in Outlander. This is not only Donnelly’s play but Donnelly’s story as her own uncle disappeared. There are some stunning support from Brid Brennan and Dearbhla Molloy as Quinn’s elderly, spinster aunts who present a look at early twentieth century Northern Ireland with their unrequited loves and militant tendencies. Molloy’s rage against Thatcher provides some understandable but uncomfortable viewing and Tom Glynn-Carney as Shane, one of Quinn’s nephew, who provides a glimpse into what drew young men to the Republican cause and why it created such loyalty to characters such as Stuart Graham’s Mr Muldoon. My only complaint is that Muldoon wasn’t played by Pierce Brosnan as a sexy Gerry Adams. Ultimately, I found the play disappointing. Considine’s Quinn doesn’t have the presence (and to be super harsh struggles with a consistent Northern Irish accent, especially in a cast so dominated by Irish/Northern Irish natives) or anything interesting about him. Even his relationship with the IRA is skirted over and his performance and character are completely upstaged by the younger cast members, including a well-behaved baby with additional live animals but on the whole the older children feel underwritten and Butterworth seemed so keen to show a large family he failed to question their role in an already fragmented play. Staging wise it is a stunning use of the Gielgud space, not losing its intimacy yet feeling open to all that is going on. It isn’t a bad play at all but I can’t agree with 5*. It has its flaws, major ones, that make this a work that is difficult to warm to.
    Comfort is aided by being on the end row. I may be incredibly short but I still appreciate an aisle seat. The comfort levels are not helped by the long show but there are two breaks-a standard interval and a short scene change, where you can get up and move your bottom and back.
    H14 Grand Circle - Gielgud Theatre - Seat Review & View Photo
    View from Grand Circle H14
  • paulfootie 6'3" male 60 reviews 3 helpful votes
    80% total rating The Ferryman, 5th July 2017
    A brilliant show relating to the troubles in Ireland and the fall out from this. A brilliantly acted play with a large cast of family and friends. 3 hrs and 15 mins flies by (three acts act 1, interval 15mins, act 2, comfort break 5 mins, act 3). I liked the use of live animals and babies on set (all humanly!) at it added to the realism !
    My seat is a topic to mention. I was in the Grand Circle AA7. These seats would be best described as 'slip seats'. My seat was an aisle a fact I was really grateful for as the legroom was poor, I have never had a seat where I could not have my knees in front of me and where the seat pad was pushing into my calves - there was literally nowhere to put my knees. I am 6'2" and I wouldn't recommend these seats for leg room at all. I was unable to sit sideways as the lower step forms a barrier to the right had part of the seat. Having said that the view was great apart from a lighting bar which obscured some of the action of far right stage (unfortunately this area is used in this production for some scenes and for wheeling out grandma - all will become clear). A bonus is that there is nobody behind you so that you can stand and any fidgeting or leaning forwards does not disturb the row behind. That said, the production had me engrossed the whole time.
    AA7 Grand Circle - Gielgud Theatre - Seat Review & View Photo
    View from Grand Circle AA7
  • timreynard 5"11 male 5 reviews 0 helpful votes
    100% total rating The Ferryman, 1st July 2017
    The most remarkable production I have ever seen on stage from two auteurs with a sensational cast and breathtaking set design.
    The seat itself is like a very comfortable dining room chair so you can physically move it as much as you want to get the best view. The seat is so close to the actual stage you can see every last facial expression - something rare unless you are in the front few rows of the stalls. As much leg room as you want and easy access to the stairs. Importantly there's no one behind or infront of you so you can adjust yourself as necessary. The only downsize, hence the amazingly cheap price is that you can't see the left hand side of the set. However this didn't affect me at all - 98% of the action takes place in the middle of the stage and I can only recall two lines which were delivered from an area of the stage I could not see. I highly recommend this seat and A32 next to it.
    A33 Dress Circle - Gielgud Theatre - Seat Review & View Photo
    View from Dress Circle A33
  • Lolats38 170cm female 1 review 0 helpful votes
    100% total rating The Ferryman, 15th July 2017
    Outstanding. Poignant, devastating, funny, and full of suspense. Hard to believe you can roll up so much into one. A proper play. Not like the tourist-pulling stuff in the rest of the West End. And it was still a full house, with a standing ovation.
    Sat in Stalls W20
    Could see all of the stage. Seats are quite old school and uncomfortable (velvet covered wood basically), but the view is good. If you're hard of hearing, though, you may want to sit a few rows ahead, or you may not catch everything.
    W20 Stalls - Gielgud Theatre - Seat Review & View Photo
    View from Stalls W20
The Stalls generally are some of the best tickets with the best views at the Gielgud Theatre, however due to the height of the stage the front few rows can miss some of the action. The section has a good rake, however an overhang from the Dress Circle can cut off the rear of the stage from Row M backwards.

The Dress Circle also provides very good views, even towards the rear, however the section does curve round the stage making it quite side on, with Row A being particularly affected. The Grand Circle is the highest section in the theatre and can feel quite distant and the safety rail can impair the front two or three rows, but can provide some of the cheapest tickets.
Gielgud Theatre, London interactive seating plan & seat reviews
The new play by Jez Butterworth, directed by Sam Mendes, The Ferryman receives a transfer to the West End after an immensely popular sold out run at the Royal Court Theatre. The Ferryman plays an extended run at the Gielgud Theatre, from 20th June 2017 to 6 January 2018.

The Ferryman is the first play to reopen the Gielgud Theatre following the extensive run by the immensely popular The Curious Incident of the Dog in the Nighttime.

Set in rural Derry in 1981, the play tells the story of the Carney family as their household prepares for the annual harvest on their farm. With a day of hard work on the land and a traditional night of celebration ahead, all is to look forward to, but this year they will be interrupted by an unusual visitor.

Jez Butterworth is one of the country’s most acclaimed playwrights and screenwriters. He is best known for his work at the Royal Court Theatre, including the much loved Mojo in 1996, Parlour Song in 2008 and The River most recently in 2012, as well as his work as a screenwriter on hugely successful blockbuster films such as Spectre, Black Mass and Edge of Tomorrow.

His most celebrated work to date was his 2009 comedy Jerusalem which opened at the Royal Court with a sell out run, starring Mark Rylance as Johnny Byron and Mackenzie Cook as Ginger, before transferring for a West End run in 2010 and a Broadway run in 2011. Jerusalem won the Evening Standard Theatre Award and Critics’ Circle Theatre Award for best play.

The Ferryman is directed by Sam Mendes, the prolific director for stage and screen who makes his Royal Court debut. Mendes has won countless awards for his stage productions, including Olivier Awards for Best Director for The Glass Menageries (1995), Company (1995), Uncle Vanya and Twelfth Night (2003). He is perhaps best known however for his work as a film director, having made acclaimed movies such as American Beauty, Revolutionary Road and the recent James Bond films Skyfall and Spectre.

The cast stars the acclaimed screen and stage actor, Paddy Considine as Quinn Carney, best known for his incredibly performances in This Is England, Pride and Macbeth having also accumulated a range of awards including an Evening Standard British Film Award, Empire Award and Thessaloniki Film Festival Awards, as well as eight other award nominations. The cast will also feature Bríd Brennan as Aunt Maggie Far Away, best known for her acclaimed performances of Brian Friel's Dancing at Lughnasa for which she won a Tony Award, as well as recent productions of All My Sons at the Regent’s Park Open Air Theatre and Sweet Bird of Your at the Old Vic.

They are joined by Genevieve O’Reilly as Mary Carney and Laura Donnelly as Caitlin Carney, as well as a star cast that includes Turlough Convery, Fra Fee, Tom Glynn-Carney, Stuart Graham, Gerard Horan, Carla Langley, Des McAleer, Conor MacNeill, Rob Malone, Dearbhla Molloy, Eugene O’Hare, and Niall Wright

With the unbeatable pairing of Jez Butterworth and Sam Mendes and following a sold out opening run at the Royal Court, The Ferryman is one of the most hotly anticipated West End tickets this year, with playing an extended run at the Gielgud Theatre on 20th June 2017 until 6 January 2018.
The Ferryman is perfect for anyone who loved Jez Butterworth’s previous smash hit play Jerusalem, especially with the exciting pairing with acclaimed director Sam Mendes. If you wanted to see The Ferryman during its sell out Royal Court run but were not lucky enough to get tickets, this is the perfect opportunity to catch it during this exciting West End transfer.

Age Recommendations: Suitable for ages 14+