Play: Our Town

It's a bit of a trek, getting to the Almeida. Mind you, I could shave off a bit of time by taking the Tube across town, and then it wouldn't be that much longer than just going to the centre. But the Overground is cheaper, so the Overground it always is. Anyhoo, despite the length of the journey, my ears prick up when I hear of something on there - they have so much good stuff, and so many West End transfers. So it happened that I came across their new production of Our Town, and seeing it was booking heavily, I booked a seat for last night.

Knowing the busyness of the 6.40 Overground, I decided to leave straight from the office, which meant I could catch the 5.55 one. Following my normal practice of getting on at the back didn't work this time - it was too packed. But I managed to squeeze in at the second-last door. And the next stop was Shepherd's Bush, where lots of people always get off - either because that's their destination, or to change to the Underground. So now there was room to move. And the next stop after that was Willesden Junction, where lots more people get off - so now I had a (welcome) seat the rest of the way.

I picked up a copy of both free papers - the Metro and the Standard - on my way out of Highbury & Islington station. Which were to be handy while waiting for the play, during both intervals, and on the long trip home. And thus began a long walk to the theatre. It's simple enough - just turn right out of the station and keep going until you come to Almeida Street. The theatre is just right, down this street. Thing is, by the time you get there, you're sure you've passed it! Tip: once you see the petrol station on the other side of the road, you're nearly there; it's just past that petrol station. So don't lose hope..

The advantage of being there early was that there was no queue to pick up my ticket. Then I thought I might grab a bite to eat - they have a small cafe. Unfortunately, cafe and lobby were completely packed. Still, I managed to get a stand-up table where I could eat the very large, very filling, and very chocolatey brownie that I bought in the cafe. Well, I was entitled - that was dinner! By the time I ploughed my way through that, the doors were open and I took my seat.

I hadn't noticed before - it's generally dark when I enter this theatre - but this time the lights were on, and I saw that the edge of the balcony is quite intricately carved. Quite nice. On ground level, a couple of tables were set up in the centre, stage area, with chairs around, and the stage itself was level with the floor. I had a front row seat, technically in the front, but the view was as good from the sides. So, with the stage level with the floor, I had as much legroom as I wanted! You just have to watch that the actors don't trip over you. Seating here is on double tip-up seats, and it turned out that the other occupant of mine never showed, despite that seat having been sold. So lovely! I could spread out along this seat as well.

The play was mostly performed with full lights on, and the aforementioned tables and chairs were the only props. Everything that needed an extra prop was mimed. This Pulitzer-winning play was written in 1938, and takes place between 1901 and 1913, in the sleepy town of Grover's Corners, New Hampshire. Nothing much happens here. The first act shows nothing more exciting than breakfast being prepared and homework being done in the evening. It's narrated by a stage manager, to the side. Indeed, it's not for everyone, and the guy to my right didn't return after the first of the two intervals.

But it's the sheer ordinariness of life that's the stuff of this play, and it's brilliantly overwhelming by the end. A number of plays are currently showing in London that I'm actively avoiding. Call me a prude, but I don't get a buzz out of going to see a play whose main characters are deadbeats, and whose plot is about the horribleness of their lives. Why depress myself with those? Unless there's something innovative about them, haven't we seen all that before? Sure, this play was humdrum. But it was funny, and there was a  warmth to it, and the characters were engaging - and the plot developments had me in floods of tears by the end. Which is quite embarassing, when the house lights are fully lit.

Very highly recommended. Unless you're actively allergic to slow-moving stories with no swearing. Runs until Saturday - booking recommended.

Getting the Overground back to West Brompton after 9.30 means you have to take a Richmond train and change at Willesden Junction, which is a drag, because there's often a 15-minute wait there, and it was freezing cold again. And my journey was somewhat enlivened by the young lad in a hoodie who sat opposite me, listening to something on his phone (presumably music) and twiching continually in time to it. Looked as though someone was applying constant electric shocks. It was unnerving, frankly, and I was relieved when he got off.

However, I was to be glad that I had to change and wait. The poor folks heading on the Richmond branch - usually so well served by the Overground - had a raw deal last night - there was some kind of freight train congestion in Acton, the train I was on was delayed for 15 minutes at Willesden Junction and thereafter diverted to Shepherds Bush, and the next Richmond train was cancelled! Poor things would have had a complicated trip, given that all trains were being diverted off the Richmond line.. Anyway, it was a late night - hence the delay in the blog.

Well, it's all about opera tonight and tomorrow night, and all about the Coliseum too. I should move in! For tonight, I saw advertised an opera I hadn't heard of - The Gospel According to the Other Mary. Anyway, there was a trailer, so I watched it - and was blown away by the music. Indeed, the Standard contained a review that said the score is absolutely beautiful! So I booked. Cheapest tickets available on the official website - I got one for £10 (+£1.75 booking fee).

Tomorrow night, I'm off to La Boheme, also in the Coliseum. Now, this is a 1930s version, and there's all of one review of it on Time Out, which says nothing more than "Very poor." Well, it is my favourite opera, so I'm giving it a shot. Again, cheapest tickets on the official website - at all costs, avoid getting them on Time Out, which includes a markup! This time, the cheapest tickets were the same price as ones I could get in the Upper Circle - the level below the Balcony, where I usually am. So I'll be in the Upper Circle for a change, which at least means fewer stairs to climb.

Good thing about booking with the ENO website is that they have a print-at-home option for tickets, which means you don't have to bother with the box office. Bad thing about booking with the ENO website is they never seem to remember my password. They always tell me I've got it wrong, and I always end up having to get them to send me a new one.. at least that one works!