It occurred to me the day before that we'd need to eat - there is a restaurant in the Roundhouse, but it was completely booked up. Upon investigation, I discovered that there's a Nando's just down the road. Now, I remember attending a gig at the O2 Academy in Brixton and trying unsuccessfully to get a table at the Nando's across the road. So I decided I'd better book this one. No online booking - I rang them up, and booked a table for 6pm.
There was a bus strike yesterday, but it didn't affect us. The Tube didn't seem any busier than normal as a result, either. With a couple of options, we decided to take the District Line to Embankment, then the Northern Line to Chalk Farm, just up the road from the Roundhouse. Easy-peasy.. except you do have to be careful with the Northern Line; there are several different branches, so you need to make sure you're on the correct one. Anyway, we got seats the whole way, after Earl's Court. Much better than the crush we'd have faced on the Overground at that time of day.
At the station, (very slow) lifts take you to the surface. They're a bit unnerving, because there doesn't seem to be any indication that the lift is coming. Finally, when you have made the ascent, the "EXIT" sign is on the opposite side to where you exit.. well, we were soon out on the road, and a left out of the station and a right onto Chalk Farm Road soon bring you to the Roundhouse. Nando's is a bit past that, on the other side of the road.
Well, far from the crowded scenes I remembered from Brixton, there weren't many people there at all yet. We passed a very empty Italian restaurant, and kept going to Nando's. Which.. was just as empty. We explained to the waiter that greeted us that we'd booked a table. I don't blame him for looking confused. :-) Anyway, he showed us to a table and we chose. The procedure at Nando's is that you get a table, choose, then order and pay at the till. They give you your drink at that point - or an empty glass if you've ordered a drink that comes from the dispenser - refills of those are free. Now, I got him to swipe my loyalty card first, because I was sure I had earned something for free. Sure enough, I had. Unfortunately, what I really wanted - "Butterfly chicken" - isn't on the free list. So he ran through the entire list of what was.. I finally chose a 1/2 chicken and two sides, and only had to pay for my wine. And we were both very well fed. Helen, by the way, was very appreciative of the rosé she chose, which was second on the list.
We were too full for dessert, which means we were finished nice and early, and made our way back to the Roundhouse. The crowds were beginning to gather now, and there was a small queue for the cloakroom. We made our way upstairs, visited the toilets, and by that time the doors were open and we took our seats.
It's curious, this idea of "non-restricted" view, as the venue is in the round, with supporting columns. Unless you're sitting between the columns and the stage, they're going to block your view from some point, regardless where you sit!
It took me a while to spot the surtitles (circled below):
The orchestra was sitting at the back of the stage, and as well as two harpsichords, and a regular string and brass section, sported three long-necked guitar-like instruments. Upon researching this, they seem to have been lutes.. oddly, I didn't think they looked like that. But I may have been thinking of the lyre.
This production is stunningly visual. In the above photo, you can just see the base of the ramp leading down to the stage, from the right. This is used extensively throughout the show, not just for people to process up and down, but also as an extension of the stage, on which they're happy to stop and sing. Frankly, from where we sat, we had a terrific view of everything, and I would have been sorry to have had a more expensive seat, near the stage, and miss most of what was happening on the ramp. The only time we had a problem with the view was in the second half of the first act, when they're celebrating the wedding of Orfeo and Eurydice, and these blasted long green ribbons are unfurled from the ceiling to ring the stage. All very nice, but they did somewhat get in the way of the surtitles. Never mind - it is in English, and we could see the other surtitle board (at an angle). And bits of the one we were supposed to be reading! Anyway, they cleared them away at the end of the first act.
We had some entertainment just coming up to the interval, in the form of a lady near us, but in the row behind, who apparently spent much of the first act talking (presumably to her companion), to the annoyance of the man - with the standing ticket - who was positioned behind her. Who proceeded to annoy her in some way - maybe by asking her to be quiet. Anyway, the first we heard of it was when she quite loudly said, "Would you stop bothering me now?!"
Shortly afterwards, we were in the interval. After some more arguing between them, evidently without resolution, she went off in one direction to complain to one usher, the man behind her went in the other direction to complain to another. He then disappeared, and she and her companion decided a resolution would be to move into our row, which up to then was mostly empty. Unfortunately for them, all those missing folks whose seats they were, and must have been late and had to wait in the bar for the first half, came back looking for their seats at the interval. I actually believe she tried to brazen it out and stay where she was, but ultimately they had to go back to where they'd come from. Sensibly, her standing nemesis had taken himself off elsewhere - I think I saw him at the other end of the theatre in the second half.
Well then, what was the show like..? I love Baroque opera - that's a good start. Now, it can be a bit slow for modern audiences - in this case, that's mitigated by a troupe of dancers - apparently schoolchildren, different groups on different dates. Somebody took a great deal of care with the staging of this: the dancers are brilliantly used. During the wedding, they're leaping and cavorting - they're most effectively used in the second act, however, when they form a kind of human pyramid to create the door to the underworld, and at other times roll along the floor in blue/grey uniform, to represent the raging river Acheron. Most strikingly, when Orfeo is attempting to lead Eurydice back to the land of the living, they roll along the floor in a line between them, presenting a very visible barrier keeping them apart.
The singing is superb, and Orfeo presents a haggard figure, happy so briefly at the beginning, before his love is snatched from him and he begins the journey to Hades. The ramp works beautifully as the climb that must be made to escape back to the world of sunlight, simply evoked by having a bright spotlight at the top. And the last scene is worthy of a painting. Absolutely stunning. And I must give due credit to both Orfeo and Eurydice, who must spend periods suspended in a harnesss hanging from the ceiling. They're supported under armpits and knees - can't be comfortable. And he has to do some singing in that position! Ay-ay..
Highly recommended, if you like Baroque music. Runs until the 24th, about every couple of days. The Opera House website is sold out, but the Roundhouse website has limited availability - principally standing, a few seats available in the stalls on certain days.
After we trudged out through a very slowly moving crowd, Helen took the Northern line straight to Waterloo for her train, and got an earlier one than she'd anticipated. And the rain held off for me to get home - just too late to blog. Hence the delay.
Tonight, I have a gig at the Lexington, near King's Cross. They're running a week-long event - The Line of Best Fit - to showcase up-and-coming acts. Particularly interested in Jagaara. I still have to watch something by the act on before them, see whether I fancy going early to listen to them as well. Someone from work was also thinking of going, but I hear it's sold out now!
Tomorrow: The Magic Hour. A Victorian-style magic show, with spirit messages and everything. I like the look of the venue too - the Grand Royale, a glorious old Victorian hotel near Hyde Park.
After I get back from Ireland, on Monday, I've booked to go to a play in the only theatre within walking distance of me - the Finborough. The play is called Pig Girl, and the theatre is so small that it's always advisable to book.
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