I don't think there's any convenient parking nearby - there is a car park, but that'd be more expensive than public transport. Having said that, there's one member who always drives - it might behove me to find out where he parks. However, I was in no rush to drive, following my exertions earlier in the week. Nope, I had a lazy day, and wandered off to Clapham Junction station in good time, where I made my way to the nearby platforms 3 & 4, both of which had a string of trains going to Waterloo - I'd just missed one, but the next was along shortly. Not soon enough, mind, in the freezing cold.. On the train, a beggar was politely asking people for change. So I gave him a load of my small change - he said he could use it all, and gave me a sad smile. And I was sad for him, and for all the beggars I see so often - the train is a good place to catch people, actually; they're not rushing anywhere and have a bit more leisure to dig for cash.
Arriving at Waterloo, I was glad I was walking the rest of the way; the place was packed with what sounded like football supporters, and I wouldn't have liked to have had to share public transport with such a throng! A short walk got me to the National - where I entered by an unfamiliar door, and it took me a while to orientate myself. I saw a bookshop I hadn't seen before, and it seems they've moved the box office (oh, they like to confuse!). As it happened, I joined the ticket collection queue right behind the LDAM organiser! who was picking up the tickets for people that had booked with her. So I saw the whole palaver - they don't like third parties picking up tickets, and were dubious about her; then there was some mix-up with booking reference numbers, which she had scribbled on the back of an envelope.. she had to double-check them on her phone.
While she was sorting that out, I collected my separately booked ticket (much more easily) at the other desk, then hung out to wait for her - to offer moral support. Boy, was I glad I'd got my own - she did pick up most of them eventually, but it does puzzle me that everyone seemed to have different booking references - did she not book as a group? Does that mean she didn't get a group discount? Is she, then, deliberately underpricing the tickets she sells? Crikey - that doesn't seem sustainable! Finally, she moved to one of the ticket kiosks, remarking exasperatedly that she'd rather people get their own tickets, before deciding that she'd better go back to the ticket desk, and sending me off to the bar.
I'd got my drink by the time she joined me, tickets all secured. We found a place to sit, and she left me there.. for fully 15 minutes; I thought I'd been abandoned! I'd nearly finished my drink, and was thinking about heading to my seat, when she finally returned with others from the group. After some chat, we made our way in - they were all seated separately, as you'd expect from separate bookings, and some were up in the circle with me, though at the other side.
As someone remarked after, the set is a clever one - representing a recording studio in Chicago, it raises and lowers to represent the bosses' office, and the band room for rehearsals, respectively - the recording studio is in the middle. A spiral staircase links the levels - the bosses' office is in a container, suspended from the ceiling, which did sway somewhat alarmingly at one point, making me wonder how hard it might be to negotiate the stairs..
From the very start, it becomes apparent that the main focus will be on the musicians that accompany the eponymous Ma Rainey, a real-life famous black musician. (The title refers to one of her most famous songs.) One actor in particular, O T Fagbenle, impressed one of our members so much that he tweeted all our appreciation afterwards - indeed, his character, Levee, is really the focus of the play, as becomes apparent in the second act.
For me, it took a while to get going. I guess we were all expecting Ma Rainey to be the focus, whereas most of the first act takes place in the band room, as they prepare for the recording session, and wait for her to arrive. There's no real plot for most of the first act, no real drama either, and precious little music - although it was a relief when they did start to play, and a delight to discover how good they were! Instead, we spend most of our time listening to them joking amongst themselves - the sort of thing I've heard so many times before.
But groundwork is laid in this apparently inconsequential banter, for the plot that is to unfold. The drama begins with a story told by Levee near the end of the first act, and it's such a powerful one that it resonates throughout the rest of the play. There's a dark undercurrent to these apparently carefree musicians. In fact, while you go into this possibly expecting a description of the oppression of the black artists by white management, what you actually get is a depiction of how the black community worked against each other. The white management are pussies, really - it's the black musicians you have to watch: Ma Rainey, at the top of the pile, throwing the whole process into disarray as she favours her nephew.. and the conflict between the reactionary Levee and the more intellectual Toledo.
Lots to digest here, from a playwright who apparently wrote a play for each decade of the 20th century, depicting the evolving social standing of the black community. They're known collectively as the Pittsburgh Cycle, and it sounds like a damned interesting set of plays. This one runs until 18 May - booking advisable, it was pretty packed tonight. And with terrific acting, good music, and a story that ultimately packs quite a punch, it's recommended.
Afterwards, we repaired to Giraffe, down the road - a place I've often passed, but never before entered. It's more a restaurant than a bar - only our organiser had a full meal though, most of the rest of us ordering something small, with drinks. I can recommend the "chicken potstickers" - five chicken dumplings, with a sauce and a dip. There was a long wait to prepare our table, and another long wait before they took our order - but otherwise, we had a good time, and I'd be happy to come again. And joy! the talk was (mostly) about theatre tonight, and we all agreed, unusually, that this had been a good play. And there was just a little bit about the Brexit. And no disagreement. If only all the meetings could be like this..
Tomorrow, none of my Meetup groups had anything interesting, so I'm piggybacking on an event of the Russians in London group - I don't really want to join the group, but the balalaika concert at Rossotrudnichestvo in Kensington sounds interesting, so I'm going to that solo. Again, doesn't sound like something I'll drive to. On Monday, I'm back with LDAM, for a performance of Uncle Vanya, at the Almeida - their second trip, and a Q&A after.
On Tuesday, I'm back with the Man with the Hat and London for Less Than a Tenner for a comedy night for a change, at the Star of Kings. Wednesday, I'm headed to a Trans-Siberian March Band concert at Rich Mix, with the London European Club - again, I was interested in going with LDAM that night, but they're going to the St. James Theatre, whose legroom is a bit tight for me; I did ask whether she had any aisle seats, but by the time she got back to me, I'd found this other event. What the hey, Miss Atomic Bomb didn't sound great anyway.
On Thursday, I'm back at Rich Mix for a concert by Iness Mezel. - I've signed up for that jointly with London European Club and the World Music Meetup. Then it's back to Ireland for the weekend again.. we're off to the final night of the Clare Drama Festival on Saturday, in my old school - followed by the Crick Crack Club on the 14th, who are back at Soho Theatre for an evening of storytelling entitled UniVerse - as ever with these, booking essential; they always sell out. On the 15th, I'm with Let's Do London - for Less! (the Man with the Hat's other group) again, as they head to Cyrano de Bergerac at Southwark Playhouse - another of the Man with the Hat's preferred venues, and another good one.
On the 16th, I got a cheap ticket to a concert by the Coppell High School Band, at the Central Hall, Westminster. A new venue for me! Cool, I do like to keep discovering them. On the 17th, Kensington Classical Music is off to a concert by the Trio Isimsiz - you had to get your own ticket, though, then pay extra to join the group at the concert. Huh. I'll avoid them, and the extra charge - have to be discreet though, I believe it's a small room! It's at the 1901 Arts Club - another first for me.
On the 18th, I'm joining Spooky London for their monthly spooky pub night! Wherever it is. If I actually go. And on the 19th, I'm back with the Crick Crack Club, for an event entitled Seven Princesses - at Rich Mix, which will be my first event there with them.
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