фотка прелестная ! Джош и Адам - два брата)))улыбки  братские)))из спектакля  

Премъерный показ состоялся, но выход  спектакля "Человек дождя" для широкой публики переносится с 9 сентября на 19 сентября!!! Пишут, что это связано с заменой режиссера, о чем мы читали,  пишут, что предоставляют возможность новому режиссеру   лучше подготовится к выходу спектакля.
Hartnett Rain Man Postpones Opening by Ten Days
01.09.2008
Following a last-minute change of director during rehearsals last month (See News, 11 Aug 2008), the press night for Rain Man has been postponed by ten days. The stage adaptation of the 1988 Oscar-winning film, in which Hollywood screen star Josh Hartnett (pictured) makes his West End debut (See News, 1 Jul 2008), has been previewing since 28 August 2008 and was due to open on 9 September. It will now have its press performance on 19 September and will continue for a limited season to 20 December.

A spokeswoman told Whatsonstage.com that producers have opted for the later opening to allow the new director, Terry Johnson, more time and to give the new play “the best possible start”. Johnson took over after original director David Grindley stepped down.

In the premiere production, Josh Hartnett is Charlie Babbitt, played on screen by Tom Cruise, with Adam Godley as Raymond, the part for which Dustin Hoffman won a Best Actor Oscar. Raymond is the elder brother Charlie never knew he had, an autistic savant who’s been hidden away in an institution for most of his life. When Raymond is released into Charlie’s care, Charlie harnesses Raymond’s genius to save his business and the brothers embark on a rollercoaster journey beyond the hospital gates.

The full cast of Rain Man also features Colin Stinton and Mary Stockley as Susan, as well as Charles Daish and Tilly Blackwood.

Rain Man is adapted by Dan Gordon and designed by Jonathan Fensom, with lighting by Jason Taylor. It’s produced by Nica Burns, Jane Walmsley, Michael Braham and Max Weitzenhoffer in association with MGM On Stage, Darcie Denker and Dean Stolber. Barry Morrow, the creator of the original film, based the character of Raymond on a real-life savant called Kim Peek, now in his 50s, who’s been the subject of TV documentaries and medical studies. The film won four Academy Awards in total, including Best Picture.

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НА эту же тему, только более подробно : 

Rain Man postpones London premiere
02.09.2008
Rain Man, the stage adaptation of the hit 1980s film, has pushed back the date of its world premiere at London’s Apollo theatre. The drama will now open on Friday 19 September, ten days later than originally planned.

The move comes following a disrupted rehearsal period for the new play, which stars Josh Hartnett and Adam Godley. Original director David Grindley chose to leave the production for family reasons, being replaced at short notice by Terry Johnson.

Speaking about the decision to delay the press night, Rain Man producer Nica Burns said: “We are delighted that the first two previews went well to audiences from as far a field as Australia and Los Angeles. However we lost a week of rehearsal at the beginning of the process. As it is a new play we are continuing to refine it as is usual. Therefore the press night date has changed to the only night available in the very full autumn schedule, which is Friday 19th.”

Rain Man, adapted for the stage by Dan Gordon, is based on the Oscar-winning MGM movie starring Tom Cruise and Dustin Hoffman as brothers Charlie and Raymond Babbitt.

Charlie, played on stage by Hartnett, is a self-centred Los Angeles-based car dealer and hustler. Relationships are not his forte and love is quite outside his experience. Raymond (Godley) is the elder brother Charlie never knew he had, an autistic savant who has been hidden away in an institution for most of his adult life. Raymond is dysfunctional in many senses, but – as Charlie discovers – he is also touched with a kind of stellar genius which Charlie harnesses to save his business. Together, the two brothers embark on a journey which shows Raymond a world beyond the hospital gates and Charlie the meaning of unconditional love.

Hollywood leading man Hartnett will make his West End debut when Rain Man opens. Better known for his movies, his silver screen credits include Pearl Harbour, Black Hawk Down and The Black Dahlia.

Godley, by contrast, has an impressive list of London credits including appearances in The Pillowman, Paul, Cleo Camping Emmanuelle And Dick, and Mouth To Mouth.

Speaking to Official London Theatre recently about Rain Man’s change of director, Godley said: “We’ve just carried on rehearsing really seamlessly. It didn’t ripple the waters or mean any change of direction. Terry’s been terrific; he’s great in those situations. We’re very very lucky to have him.”

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Интригующие подробности!!!! или  предположения???    
THIS is why Rain stopped play

I've been mightily amused over the stories about the West End stage version of Rain Man being delayed because director David Grindley had to withdraw for family reasons and replacement Terry Johnson needed more time because it's a new play.

Hogwash, people, hogwash. Rain Man was in trouble because of bad behaviour, not because the director's family was under the weather.

Mr Grindley left the production because the play's star Josh Hartnett insisted he do so.

Hartnett, who I've always liked, just didn't get on with Grindley and said either Grindley went, or he would walk.

How could such a thing come about?

Hartnett would have received approval over who was directing and what's not to like about Grindley?

All he demands is that his actors know their lines and how to act.

Let's hope Mr Johnson can get the show on the boards by opening night  -  now September 19  -  and keep his credit in the programme.

Взяла здесь

All eyes on Hartnett as Rain Man delayed
05.09.2008
Rain play delayed

The official opening of Rain Man, a stage adaptation of the 1988 movie, has been delayed in order to squeeze in more rehearsals. Director David Grindley withdrew from the production last month for family reasons and was replaced by Royal Court regular Terry Johnson. It was hoped that the switch wouldn't affect the production schedule, but the press night has now slipped back 10 days to September 19 2008.

Hollywood star Josh Hartnett is making his West End debut in the Tom Cruise role as a smug LA wide boy struggling to develop a relationship with his autistic brother (an Oscar-winning Dustin Hoffman on screen; Adam Godley in the new Apollo theatre production).

According to the Daily Mirror, it looks like Hartnett's debut may be upstaged by a "romp with a mystery girl" in a Soho hotel library. The paper reports that the incident was witnessed by hotel workers and caught on CCTV, so if it ends up online Hartnett's offstage performance may well win bigger audiences than the Apollo production.

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Первые отзывы критиков: Джоша не ругают . Хвалят Годли. У Джоша опять больное горло. Если в целом, то  спектакль удался! Вышел не хуже оскароносного фильма!

Rainman at the Apollo, SW1
Man of memories is simply unforgettable
September 20, 2008
Benedict Nightingale

What, yet another movie transposed to the stage, as if to say that there aren’t enough original plays to keep our actors happy? But, though Dan Gordon’s adaptation doesn’t add anything to Barry Levinson’s film, there’s one good reason for seeing it. That’s not the Hollywood star Josh Hartnett, though in many ways he’s as strong as Tom Cruise on the screen. It’s the British actor Adam Godley, who more than matches Dustin Hoffman’s Oscar-winning performance in 1988.

At root this is simply a feelgood variation on two well-worn genres, road and buddy movies. Hartnett’s Charlie, a cool, fly car salesman on the brink of bankruptcy, discovers that his estranged father has willed his millions to Godley’s Raymond, the autistic sibling he never knew he had. So he abducts his brother from the Cincinnati sanitorium where he has been closeted for aeons and, since the young man refuses to fly with him to LA, drives him there via Las Vegas.

Since Raymond is a savant, with a lightning memory for everything including cards, the casinos stand no chance. In an episode that is too cursory and, anyway, occurs offstage, the men make a killing before reappearing for a psychiatric assessment in LA. I won’t reveal what happens when the once-cynical Charlie finds himself protecting Raymond from the shrinks, except that the ending is less clear but also less sentimental than in the film.

Hartnett’s problem isn’t that he lacks the casual egoism his role demands or overdoes the warmth he begins to feel for Raymond. It’s that his admirable energy has an unfortunate side-effect.

It’s as if he were fuelled by high-octane petrol, revving up his vocal cords so that, especially at first, words flash by like clusters of racing cars dangerously tailgating each other. Terry Johnson, who directs, should help him to slow down and unjam this verbal grand prix.

But he should do nothing to change Godley. With his spindly, bent body, his gawky shuffle, his wizened, frowning face, his fits of hand-fluttering panic and long moments of utter stillness, Godley’s Raymond looks far more the victim of long-term damage than Hoffman. He sounds that way, too, half-bleating his refrain of “don’t know”. You never doubt that he is as cut off as a hermit on an iceberg. It is sometimes funny, often touching and always distressing.

The original script has been updated, so that Raymond cites 9/11 as the reason he won’t fly United and can tell you the day and time when Oprah Winfrey will be deciding whether anorexia is “an eating disorder or a lifetime choice”. But that’s incidental. What matters is that you leave the Apollo feeling the pain and poignancy of an affliction as intransigent in 2008 as it was in 1988.

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Не буду расстраиваться преждевременно. Предполагала, что Джошу достанется от критиков за участие в спектакле. Да и когда такое было, что бы критики остались довольны увиденным? У них "работа" такая...
Итак, третья серия :
First night: Rain Man, Apollo Theatre, London
By Paul Taylor
Saturday, 20 September 2008
Film star fails to shine in dull stage performance

It's scarcely possible to type the title of this show – deep breath, let's get it over with, here we go, Rain Man – without feeling a slight twinge of worry that one will wind up on the wrong side of the law. There have been defamatory and wholly unsubstantiated rumours of sexual dalliance in a London hotel – although who allegedly did what to whom and how is unclear even at the level of question because of subsequent threats to the press from solicitors.

To whom is this of the remotest interest? Well, the producers of the show for one. As a clever, paradoxical twist to the publicity game, the situation could hardly be bettered. And of course, the devilish brilliance of those producers is evident in the majestic package we have here. In a profoundly original stroke, they have brought to the West End a stage adaptation of a famous movie (the one that starred Tom Cruise and Dustin Hoffman). And – this is where it becomes almost painfully subtle – they have placed at the helm of the project a Hollywood movie hunk, Joss Hartnett, with scant stage experience. This kind of thing could catch on.

When the curtain was 15 minutes late in rising, one began to wonder whether it was perhaps because backstage consultations with lawyers had overrun. But, no, it turns out that some of Mr Hartnett's young fans aren't aware of the theatre etiquette that requires you to be in your seat by a specified time.

I'm not knocking the desire to see a film star in the flesh. I'm just saying that you'd get a poor idea of the possibilities of theatre as an art form from his dull, undistinguished performance. It's his co-star, Adam Godley, who shows you what real acting is.

Godley plays Raymond Babbitt, the "developmentally disabled" and institutionalised autistic savant who can memorise the telephone directory but has no friends in it that he could ring up. Enter his long-lost brother, Charlie (Hartnett) who is peeved at their late father's will which leaves $12m to the crank and nothing to Charlie, the financially strapped car dealer.

Hartnett's inexperience is at its most damaging in the silences which punctuate and accelerate the tentative growing rapport between the siblings. These silences are nerveless absences of speech here rather than the charged moment of intensity that they should be. And when Hartnett speaks, he can't always wrap his mouth crisply enough round the fast-talking dialogue.

Godley, though, is an anguishing joy. His Raymond has all the premature elderliness of the permanently precocious. He looks like a mix of floppy toy monkey and a dogmatic stickler-for-routine old lady. He comes across as a being infinitely marooned in a vast loneliness that it would be harrowing to plumb. Ideally, you would want from Hartnett some suggestion that Charlie, though on the ball and in full use of his balls, has complementary emotional difficulties. That, though, would require a balance of talents less lopsided than those arranged for us by the esteemed producers.

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Rainman review: a stage miracle steals spotlight from Hollywood
22/09/2008
Charles Spencer reviews Rainman at the Apollo Theatre, London

This show struck me in advance as a serious misjudgment by the producers. Who would spend almost £100 on a pair of top price tickets, and brave the horrors of a West End patrolled by obnoxious gangs of teenage girl drunks, when they could sit comfortably at home and watch the DVD for a mere six quid?
The stars of the stage show, minor Hollywood heart-throb Josh Hartnett and that fine British character actor Adam Godley are hardly in the same league as the stars of the film, Tom Cruise and Dustin Hoffman.

More crucially, Rain Man, which picked up the Oscar for best picture in 1988, is a road movie that follows an autistic savant and his brattish hustler of a younger brother from Cincinnati to Los Angeles via Las Vegas. How was that going to work on stage? As the damaged hero repeatedly remarks: Uh-oh!

Miraculously, this version, adapted by Dan Gordon and directed by Terry Johnson in a series of anonymous Pinteresque rooms, works superbly. Indeed, I was more moved and amused by the show than the film.

This has a lot to do with the communal atmosphere of the theatre. You can feel the whole house getting behind Adam Godley's performance as the autistic hero who cannot bear to be touched, is overcome by twitching, yelping panic attacks whenever his routine is interrupted, yet somehow, sometimes, conveys a sudden grace and generosity of spirit.

It's a sentimental picture of autism - hardly any sufferers from this cruelly isolating condition are blessed with the near miraculous talents of memory and numbers evinced by Raymond Babbitt.

But with his hoarse, almost mechanical voice, sticky-out ears, gangling limbs, and sudden, heart-stabbing glimpses of empathy, Godley manages to be deeply affecting without excessively milking the pathos.

Indeed, his performance seems to be drawn from somewhere deep inside his own character, whereas Hoffman's, technically brilliantly though it was, basically added up to little more than a series of tics, tricks and stutters.

It won him the Oscar for best actor, though, and there will be little justice if Godley doesn't also pick up gongs for his brilliantly timed acting, in which he constantly seems to be a split-second out of synch with everyone else on stage.

Poor Josh Hartnett, making his professional stage debut, cannot compete with this, but his initially monotonous performance of belligerent anger grows in confidence and depth. The scene when the two estranged brothers recognise and remember each other is beautifully played.

At the end of the day this is a neat adaptation of a Hollywood blockbuster rather than a great work of art, but I defy anyone to sit through it without experiencing both sympathetic laughter and sentimental tears.

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