Tonight, ironically, I was on another Groupon deal - this one, however, seemed to be valid, unlike yesterday's! I was headed to & Juliet, a very non-Shakespearian take on the classic heroine, including a pop soundtrack, with Up in the Cheap Seats (UITCS). Running at Shaftesbury Theatre. Booked a lot later than many, but still two months ago..
And for once I took off in decent time, walking the last bit from Holborn - the #8 route stops and starts there until the 10th of next month, what with roadworks. I had my ticket conveniently on my phone - whose battery was low, but sufficient - and sailed straight through upstairs. I half expected an upgrade - and I wasn't the only in the group that did, Mondays are good for upgrades, and apparently a lot of tickets remained unsold - not enough to prompt an upgrade, but never mind. Quite a lot of stairs later, I discovered myself the first of the group to arrive in the bar. Grabbed a drink (they only do 175ml here) and a seat (lovely!). And when the others arrived, we pretty much nabbed all the other seats in what is quite a teeny bar. It was good to see them - some I haven't seen for quite a while - and we had a nice chat before we went in.
I was actually pleasantly surprised with the legroom - might have been able to stand a mid-row seat after all. The view above, however, was snapped by leaning into the aisle - from my seat, the handrails got in the way, and I found I had to lean into the aisle, or forward, to get a better view. Even at that, any captions to the rear of the stage - there were a couple - were unreadable from that angle. But overall, it was a decent seat, especially for the last row in the house. Even if the staff's walkie-talkies did disturb us a little, during the odd quiet moment.
So, in this offering, we get Will Shakespeare arguing with his wife about the ending of Romeo & Juliet. She thinks it's a bit depressing. She thinks Romeo is a bit of a douche. She runs off with his quill.. and reimagines a play that starts where his leaves off.. with Juliet saying, hey, I can do better than this - I don't have to kill myself, I can head off for a new life. In, eh, Paris. Will isn't that impressed, doesn't want her to have such an easy time - says you can't have a play without conflict. Keeps interfering in the plot. Oh dear, poor Juliet..
Ah, this is irresistible. It's an absolute hit parade of songs - some of which I recognised. As originally released by a whole variety of artists - but all written by Max Martin. You did know that most current hits are written by just a couple of guys, right? This is one of them. Yes, he's a multi-millionaire. And a damn talented songwriter - holds the record for the most wins of the Songwriter of the Year award from the ASCAP. Which all makes for a toe-tapping, singalong show - yes, you might as well, nobody will hear you over the din!
Absolutely stunning vocals from all the cast, with several show-stopping solo numbers, and all the hits cleverly woven into a witty plot. Snippets of Shakespeare are woven into the script. I loved the plot twists, too - when the playwright is part of it, well, it can go anywhere! Yes, the female empowerment message is a bit heavy-handed - forget that, focus on the songs. They're the important part. As someone said afterwards, a perfect distraction for a Monday night! You know, beforehand, we were remarking how it'd been since we were last there - for me, nearly three and a half years! As someone said, they tend to have long-running shows here. I can see why. Currently booking till July, but I predict this will run and run.. another hit for this theatre.
Afterwards, the others headed for the Tube, me for my bus. Which, as I say, now starts in Holborn - where we all stood (except the guy in the wheelchair) shivering, staring at the bus sat on the stand. Which eventually picked us up. And there began the most interesting journey.. First thing to happen was the guy who got on, saying the Tube had closed down - well, he didn't get a free ride. I guess he should have got some kind of ticket at the station. Next, we discovered that we had a driver who didn't want to let people off - one poor chap was stood at the (closed) central doors for ages, pressing the bell, while the driver let people on at the front. As the bus moved off, he had to go and ask the driver to let him off!
Oh, but you should have seen the sea of people that got on at St. Paul's - turns out there were "severe delays" on the Central Line. (Hope my people got home ok.) So the bus took the strain - I've never seen anything like it. Never mind that you're not supposed to board by the central doors on this line - they just poured on, sod paying. At some subsequent stop, something like five people wanted to get off - they got stuck in the crowd, of course, and as the driver moved off, having ignored their calls to him, one reached out and pressed the emergency door release, bringing the bus juddering to a halt. So, that worked, and he let people off after that. When it was my turn, I had to reach behind me for the bell - couldn't reach the one in front. Well, he opened the door for me - and kept it open while I squeezed off. I'm guessing the crowd all got off at the next stop.
Last night, I was too tired and cold to blog. Tonight, back with North London Friends for Fairview, at the Young Vic. And I was lucky to get one of their tickets, which they booked a year ago - people were saying, last night, how hard it was to get them!
On Wednesday, back with the Crick Crack Club for a night I'm really looking forward to - Ben Haggarty and Jan Blake again, combined with my favourite, Clare Murphy, and Jordan Campbell, will treat us to a night on the theme Sovereign, at Rich Mix. It's the last in their series called the "alternative tarot", where four storytellers take turns to expand on variations on an archetypal theme, and hold a Q+A after. Unfortunately, Ivan, who would've loved this, is out of town again. But never mind, he's just got a new job, which won't take him out of town as much.
On Thursday, back with UITCS for Three Sisters, at the National. Also signed up with Love London Arts, Theatre, Music & Stuff for this - the last time I tried to integrate the two, it didn't really work! It'll be interesting to see how it goes this time. I'll try to gravitate more towards them this time, as I missed them completely the last time. And then it's back to Ireland for the weekend, again.
Second night in a row at a musical in the West End, second night in a row that the handiest and cheapest way there (if not exactly the quickest) was the 87 bus. And last night I was in good time, and caught the bus nice and early on what was a beautiful, sunny evening.
..and then we were unceremoniously dumped at Vauxhall. I don't know why, but our bus was going no further. We did get vouchers for onward bus travel (valid within 60 minutes). As we waited, with no sign of another bus going our way, I noted the location of the Underground steps, just behind me, and determined that I'd take that instead, if nothing had come by 7. I consoled myself that I was still in good time - it was only 6:40 when we arrived at Vauxhall.
..and it was 6:50 by the time anything came - and this an 88. There was a rush of people for it - seeing that it stopped at Trafalgar Square, and with no 87 in sight, I thought I'd better join them. Figured I could walk from there. In retrospect, I should've just taken the Tube.. Traffic was awful, both around Parliament Square and around Trafalgar. When we finally did creep around the corner to the stop, it was at the wrong end of the square.. then I wasn't entirely sure of my route to Shaftesbury Avenue, or how far along the Shaftesbury Theatre was. The sun in my eyes, and tourists in my way, did not make for an easy walk - although it should have been pleasant, along the back streets of the West End, sunlight filtering through the trees. At least there were plenty of street maps dotted along my way.
It was quite a ways, and just after 7:30 (start time) as I crossed the road to the theatre (in some relief). Some people had just walked into the theatre before me - always reassuring - and I managed to grab an usher all of my own, who led me straight up (lots of) stairs to my seat. As she sped upstairs (and I panted after), she reassured me that it had only just started; indeed, I could hear singing as we climbed. She also reassured me that I was at the end of the row - so I wouldn't be disturbing anyone.
:-) Didn't quite work out that way - there was some confusion on the part of the group of four, one of whom was occupying my seat. She had to persuade them all to move one to the right - and finally, I plonked myself down, to the strains of a Motown tune I didn't recognise, courtesy of a group of smartly suited men onstage. My seat, although in the top level and right at the end, had a good view, and plenty of legroom - not to mention a handy floorspace to the side for my stuff:
Ah now, this is more like what you want for a musical. And what an idea for a musical! The history of Motown.. gee, just get a cast to recreate the greatest hits. That'll more than fill a couple of hours - and who doesn't love Motown?! With a smattering of the politics of the time - race riots, the assassinations of JFK and MLK, and Vietnam - the re-enactments are spectacular. Get to know Smokey Robinson, Marvin Gaye, Stevie Wonder - and the wonderful impressions of Diana Ross and, particularly, a young Michael Jackson, appearing with the Jackson 5.
I nipped to the toilet at the interval - just beating most of the queue - and on the cubicle door, was amused to see a warning notice. "Please remember - it's 'Dancing in the Streets', not dancing in your seat!" and also admonishing us, although they realised there were many budding Diana Rosses amongst us, please not to sing along unless invited to. Heh - they could hardly stop us.. I defy anyone who loves music not to join in: clapping, swaying, foot-stamping.. the packed house was jiving for the whole show. And yes, we were invited to join in, finally, in the second half - beware if you're sitting in the front stalls (right).. and we merrily jumped up for a sing-along/clap-along at the end.
Fantastic show - one of the best in London right now. Go see, for goodness' sake - currently booking until 28 October next year. And this is one for which booking is required.
A much shorter walk through Covent Garden got me back to the 87 bus route, and I got home without further incident - but, being in Guildford again today, not early enough to blog. Tonight, I'm headed to the National, to see a reading of Stuff Happens, with Bill Nighy - about the lead-up to the Iraq war: topical, what with the results of the inquiry being released. Also in the room will be London Dramatic Arts, who are charging £2.50 more than the standard £10 for this production. It's been a while since I went with them - and at this rate, it'll be a while longer! Anyway, I've booked a seat upstairs, where hopefully I'll avoid them, considering they do still have a seat available. (Pure badness of me to book at all, I know, but it sounds good.) I tend to get the train there - it's quick and easy - but might get the bus this evening, for a change; seems the Waterloo stop is the terminus, so you get the bus back from the same place.
In complete contrast, I'm with the Man with the Hat on Thursday and Friday. Thursday is back to the Globe (whoopee!) for a performance of Macbeth that didn't get a great review in the Metro. What the hey, I don't pay much attention to those - and it'll be a great night anyway - great venue, great group. And on Friday, he's taking us back to the Royal Opera House, for Il Trovatore. And as is his wont, he's got photos up for both events of where he'll be standing, so we can find him. On Saturday, the plan is to do.. something.. with Helen. TBD.
Amazon Local provided me with the best value for tonight's show, Memphis: the Musical. Mind you, this was in the Shaftesbury Theatre - one of those where the upper levels might be cramped. I got a good deal on a seat in the rear stalls for £22.50.
Working late in the office again, I just made it in time. I was actually really lucky with trains, and had no long waits - although the Piccadilly Line had long delays at stations from Hyde Park Corner on. Google Maps had told me to get off at Covent Garden, turn right on Long Acre, then left past a brown building (as I could see on Streetview). Continue along that road, and the theatre would be on the other side of a crossroads. I was actually there once before, but it's been a while. Still, I found it without trouble - a blessing, in the pouring rain. Even the crossing light was green as I dashed across.
The guy at the box office hurriedly asked my name and got my ticket. As I tried to figure out which was the right door, an usher hurried over to me and pointed me in the right direction. I found my own seat downstairs in the stalls, though - not hard. I almost had time to turn off my phone before the warning about them was broadcast. I had time to get off my coat and was wiping the rain from my glasses when the lights went down. The seat was fine, by the way - comfy, decent legroom, and a good view, the very top of the stage slightly obscured by the overhang, but not a problem with this production - I could see everything. And I wasn't even the last in, BTW.
I've been to so many mediocre West End shows that I'd come to expect it. Well, ladies and gentlemen, believe the hype - this is fantastic! You like r n b? This show is chock full of it, every number a show-stopper. This story of a white guy, down on his luck (Matt Cardle) from Memphis in the 50s, who falls in love, first with the music, then with the singer (Beverley Knight). (Can you believe that white radio stations once upon a time refused to play what they called "race" music?!) He becomes a dj and champions black music, fighting prejudice against both that and his burgeoning relationship with this beautiful and talented black woman.
The performances are out of this world. Really, I wanted to jump out of my seat after every song - I contented myself with cheering and clapping instead, along with everyone else. It felt more like being at a concert than a West End show - and it was no surprise, at the end, when the entire house - and I mean everyone - leapt to their feet in a standing ovation. This is the first time I can remember not seeing anyone still sitting after a West End show - even the lady two rows in front, who looked frail and who had seemed to have trouble walking at the interval, couldn't resist dragging herself to her feet for this. Awesome stuff - definitely one of the best shows in town. I can't recommend this more - booking until at least October next year. Go see - but do shop around for tickets.
For the next two days, I'm headed to the Guildford office - first for a meeting, then the Sports Day. On Thursday, I've booked a ticket to see the comedian Iliza Schlesinger at the Soho Theatre - she was sold out for today, so I said maybe I'd better. And on Friday, I'm headed to the Boat Show. And those pesky Tube strikes have been suspended! so I can relax about my travel arrangements.. for the time being.
On Saturday, I'm back with the London Dramatic Arts group, for Oresteia at Trafalgar Studios - its West End transfer. (I see it's at the Globe as well - bummer, that'd have been good. And now Let's Do London - for less! is headed there in October, to see that self-same show. We'll see how I feel.) On Sunday, I'm headed to the Scoop, for their double bill of classical plays. Technically, I'm accompanying the Free London Events and Talks group, but with 100 of us going, I doubt I'll be much bothered with actually meeting anyone. Unless I see someone I know.
I'm finishing off the month by going to the Proms, and on the 1st September I'm going to What's It All About? Bacharach, at the Menier Chocolate Factory. And then.. more stuff! Watch this space.
Well, it wasn't as though I couldn't have gone to the cinema yesterday evening - I only stayed for one post-work drink. But Godzilla had slipped in ratings again, and the highest rated film now (according to IMDB) was The Voysey Inheritance, an Edwardian tv drama with Jeremy Irons. Now, had that been showing locally, I'd have loved to see it - but as it was, I'd have had to go by Tube to the BFI, and it was far too nice an evening for that. So I just bought something to eat and went home.
Tonight though, I'd already booked a ticket for The Pajama Game, showing in the Shaftesbury Theatre. So, despite another beautiful day, that was where I was headed - it was ironic that it was also the evening I got stuck into something at work, and stayed there so long that I had to rush straight from the office into town. As I was finishing up, I hurriedly checked where exactly this theatre is - I don't get there very often - and discovered that the nearest Tube stop was Covent Garden. Holborn was about as close, but one stop further on the line - so I quickly memorised the walk from Covent Garden, and made a dash for it.
Sadly, I didn't get a seat until two stops before Covent Garden, but at any rate I spent the journey worrying that I wouldn't get there in time. I gratefully disembarked at Covent Garden, only to discover a huge crush of people at the lifts - this is one of the stations where you're better off taking the lift; the alternative is the staircase, which, as they tell you on the sign, is the equivalent of 15 storeys. Unfortunately, two of the four lifts were out of order - hence the crush. And when our lift did come, we crammed into it like sardines.
Street level came as a relief. Then I had to dodge a whole crowd of rickshaws, which are popular around here. It was only afterwards that it occurred to me I could have hired one to take me to the theatre - never mind. The way, after checking on Google Maps Streetview, was easy to find, if not actually easy to walk, with huge crowds of people spilling out of the pubs and hogging the pavements. And by now I was slightly late. Still, I made it to the theatre under five minutes late - they quickly found my ticket and hurriedly scanned it, then led me through a warren of passageways, downstairs to the stalls. The usher explained that she couldn't lead me to my seat, in Row E, now that the performance had started, because the actors come in through a door there! So I took an aisle seat further back. Might have stayed there too - it was fine, except for the large head in front of me - the rake in the stalls isn't very steep.
The show had just started - I missed just a couple of lines, I think. It's a simple story - set in a pyjama factory in the 1950s, where the workers are dissatisfied with their pay. Others in the industry are getting a 7.5c an hour pay rise, and these workers want the same, but the boss isn't budging. Romance blossoms between the female head of the grievance committee - played by Doris Day in the film - and the new factory superintendent.
Well, it's your classic, feelgood, escapist, Broadway musical. There are plenty of musical numbers, the production values are excellent. The singing and dancing is top-notch, and the fact that the actors come and go through a door to the side is a nice touch, especially as they sometimes hang around there, bringing the play up close and personal. I cannot fault it - the only thing that jarred a little was that the lead actress was a bit older than you might expect. But she was terrific.
I moved at the interval. My new seat seemed to have more legroom, seemed to be more comfortable, and certainly had a better view - five rows from the front, more central to the row, and with a much better view of what is a very ornate theatre:
I was hungry, having come straight from work, and thought to buy an ice cream from the chap selling them. I was browsing the flavours when the woman beside me, who had just chosen two, was told that they would cost £7.20! These are typically small tubs, but most places only have the cheek to charge £2 for them, not £3.60. I decided against it, and reflected, as I returned to my seat, what an expensive venue this could be - aside from the ice cream, the ticket prices through their more modern website - the one linked to from Time Out - are terrible value. Shop around - it's hard not to find them for less, and 3rd party ticket vendors are very popular for London shows.
Well, but I enjoyed the night. I had a much more immersive experience in Row E, and was glad to be there for the showy numbers of the second half. Coming home, I went a different way - I had remembered, on the way in, that Covent Garden is exit only for several months because of engineering works, so I couldn't go back that way. Holborn it was, which I remembered was straight up High Holborn. I passed a Nando's on the way, but wasn't hungry enough for a big meal - instead, I discovered a Sainsbury's across the road from the station, where I bought something to eat at home. I needed wine, but thought I wouldn't be able to get it, it being after 10. I had forgotten that the cut-off time here for selling alcohol isn't until 11 (whee!). My, dragging the shopping across the city was a pain, though - although I had a stroke of luck in Earl's Court, where the train to take me one stop closer was at the platform when I got there, thus saving me five minutes' more walk.
Tomorrow looks like a film again, but it's too late, and I'm too tired, to go through them. I've done the As.. I'll continue tomorrow.
