Marry Me a Little is a mini-musical composed of the discarded songs of Stephen Sondheim - the ones that were cut from his more major works. Now, the man is a legend, and it's not surprising that this was sold out for last night, which I originally tried to get a ticket for. I stayed in instead and read the atlas that arrived yesterday, for my upcoming trip. Of which more anon.
It's equally not surprising, given that it's in the St. James Studio, which has 1/3 the capacity of the main theatre. I managed to get a ticket for tonight instead, but all they had left was the Upper Gallery. When I checked the seating plan today, I was delighted to discover that the ground floor is café style seating, while upstairs are swivel armchairs! No problems with comfort then.
The entrance to the Studio is down a flight of stairs beside the box office. No matter which level of the Studio you're on, you must go all the way down. Then, if you're upstairs, you climb some more stairs, and if you're in the Upper Gallery, when you get to the Gallery, you climb a final couple of steps to your left. There are all of five seats in the Upper Gallery, and by the time I got there, the only one left was by the wall, at the very edge. Never mind - that's not what obstructs the view, it's more the railing at the edge of the Gallery. But, as I say, the seating is very comfortable, and the swivel chairs allow you as much legroom as you could want. The chairs are movable, but heavy.
The show lacks any narrative, or any real plot - but you're coming for the music anyway, so that's ok. You have two characters - a man and woman - onstage in an apartment. I'm confused by the online reviews that describe it as taking place in two separate apartments, considering the obvious interactions between them - but maybe the director of this show just decided to play it that way. Still, I fail to see how it would work with them in separate rooms..
The music, of course, is glorious. Whyever these songs were cut, it wasn't for their quality. And the singing is outstanding. In short, just relax into your armchair and enjoy some showtunes by one of the best writers of them all. For an hour, because that's as long as it runs for! I was surprised - it doesn't mention on the website. But I think it is long enough.
Recommended for lovers of musicals. Runs until Sunday, booking recommended - as I say, this is a small venue.
And for tomorrow night.. Cirque du Cabaret! Showing in the Spiegeltent as part of London Wonderground. Advertised as "slightly naughty", over 18s only, the show is to combine a bit of circus, a bit of burlesque.. who knows what, in fact? The shows here are always great fun, and I'm looking forward to it. This is the second of only two shows they're running in London, and nearly sold out, I believe - certainly, tickets seemed limited when I checked today, which is why I booked. "Wonder seats" cost £5 more - I decided to do without!
Thursday, 7 August 2014
Tuesday, 5 August 2014
Play: Richard III (with Martin Freeman)
You know, I've already seen a few versions of Richard III, and I wouldn't have bothered about this production at all except that someone I know said someone he knows enjoyed it. And I said to myself, well, we can't have people that know people I know having seen things that are good and that I haven't seen! So I kept searching for a ticket - this is very popular - and eventually got one with lovetheatre. They always have good seats, and I got a premium seat - and was glad to be in the third row, when I read on the website that those in the front two rows should be prepared to be splashed with stage blood! and should dress appropriately, whatever that means..
I remembered the way to Trafalgar Studios, although it's been a while. It's just off Trafalgar Square, down Whitehall. So, if you're coming from Embankment, head up Northumberland Avenue to Trafalgar Square and take the next street to the left. I arrived in plenty of time, and collected my ticket. I gave my name - no need, really, to explain which show I was there for! although there is actually another show running. The auditorium was already open, and I headed in. And.. then I saw the signs that warned that the front three rows were likely to be splashed with blood! and plastic macs were available from staff. Ehh..
Anyway, I took my seat, and noticed that all the seats in the front three rows had black clothing draped over the backs. So I donned mine, which turned out to be a Fruit of the Loom jumper. In XL, handily. Others had shirts, which were handier, because you could just put them on back to front and not bother with doing them up. Anyhoo. The lady to my left confided that that was why she'd worn black anyway! Shortly, someone came to inform us that we wouldn't need the protective clothing until the second act, but I already had mine on, and kept it on - it wasn't too warm, fortunately.
Ooh, how to describe this play? I don't know where to start, so I'll start at the beginning. Actually, before that - because, before the play even gets going, you gradually come to notice an old lady sitting on a bench to the side, looking sad. The lady beside me was confused, and consulted the lady on her other side, who had a programme - turned out this was Maggie Steed, who's playing Queen Margaret. Which reminded me of the review I read at the weekend, which pointed out that this is generally quite a minor role, but they've made much more of it here.
Which is just the first of many shocks of this production. All the characters come in, en masse, at the start, and the relevant ones play their parts while the others stay on stage, frozen in place. A good way to introduce us to everyone - as Richard III mentions people, he can go around pointing at them. I was surprised to see Gina McKee in the cast - she plays Queen Elizabeth. I was trying to remember what I'd last seen her in, and upon reading her bio, realised that she played Caterina Sforza in The Borgias. And Martin Freeman, as Richard III, is, frankly, hilarious.
Yes, you read me right - hilarious! This is a performance that flings itself at you, right from the start. I do believe I've read a description of it as "visceral". Yup, that'd be right. And I don't know whether to praise the acting or the direction more - everyone involved is outstanding. The acting is, as you would expect, world-class: and I have never seen a more imaginatively directed version of this play! The setting is unusual - well, I've also seen it done in 1930s style a couple of times, so that's not a first. But what they do with the script really enlivens it, playing with the words, giving them a new twist.
This play has variously been described as a history and as a tragedy, and the tragedy is very apparent here. There is a real humorous streak, more apparent at the beginning - but this is not a play for the squeamish. They do like their blood, which is dark red, and - everywhere. Well, to be fair, a lot of people die in this. There's a severed head at one point, which is absolutely soaked in the stuff. When the ghosts of those that Richard has murdered appear to him at the end, they're soaked in it too. Indeed, by the end, I don't think there's a single cast member who hasn't got bloody - their laundry bill must be terrible! There are some gruesome murders, quite gleefully enacted. And it's quite a spooky play, with sinister music, and Queen Margaret busily cursing people, then hovering around the edges, despite having nothing to say - her figure presenting itself as a spectre of doom.. and let's not forget those ghosts!
Well, of course, all this makes for great fun. Or so I thought - the lady to my left didn't seem to agree. I noticed she had her hand to her face several times during the first half, and she kept looking over at me, I'm sure, doubtless wondering at my rapt expression. She left at the interval and didn't return. Shame - those seats aren't cheap. But this won't be to the liking of those with delicate sensibilities. Neither is it suitable for those with photosensitive epilepsy - they represent the battle scenes with flashing lights. As for the blood spatter - as I suspected, they were just being cautious. Someone is stabbed in the jugular at one point, and the blood does indeed spatter, but certainly tonight it hadn't a hope of reaching past the first row. People in the first row might indeed be advised to wear protective clothing! There's probably also a slight element of hype in those warnings.
BTW, I was rather glad of the extra space once the seat beside me was free - legroom is a bit snug, even in the premium seats!
I was peckish, not having had time to eat before I left, so had a rather delicious chocolate chocolate-chip ice cream at the interval. Unusually, they provide you with two size options for ice cream. I also bought a programme, and hardly got any of it read before the second act. Then I promptly forgot it in the kerfuffle of removing my black jumper and collecting my belongings to leave. I only remembered it when I saw them on sale in the lobby - but there was too much of a crowd to go back for it. Nuts!
Might I also sound a note of annoyance about the lady to my right. A seat in Hell is surely reserved for people who use their mobiles inappropriately, and she saw fit to text busily throughout the second act. At least she seemed to be enjoying it - maybe she was texting her opinion. Surprise, surprise - as we climbed the stairs at the end, she was holding up everyone again - we all had to squeeze past her, as she texted away again..
I must seriously, seriously recommend this play. This is, literally, the best thing I've seen in months. Runs until 27 September, booking essential - although demand seems to have slowed: I think it's bookable a week in advance now. If you have any interest in this play - and you don't mind rivers of blood - you must see this!
Phew! Well, tomorrow is looking like Boat People, a film about a photojournalist returning to Vietnam, at the BFI. If I feel like it. Then, on Thursday, I have a ticket to Marry Me a Little, at the St. James Studio - haven't been to the studio on this site before! It's a musical comprised of discarded songs from other musicals by Stephen Sondheim..
I remembered the way to Trafalgar Studios, although it's been a while. It's just off Trafalgar Square, down Whitehall. So, if you're coming from Embankment, head up Northumberland Avenue to Trafalgar Square and take the next street to the left. I arrived in plenty of time, and collected my ticket. I gave my name - no need, really, to explain which show I was there for! although there is actually another show running. The auditorium was already open, and I headed in. And.. then I saw the signs that warned that the front three rows were likely to be splashed with blood! and plastic macs were available from staff. Ehh..
Anyway, I took my seat, and noticed that all the seats in the front three rows had black clothing draped over the backs. So I donned mine, which turned out to be a Fruit of the Loom jumper. In XL, handily. Others had shirts, which were handier, because you could just put them on back to front and not bother with doing them up. Anyhoo. The lady to my left confided that that was why she'd worn black anyway! Shortly, someone came to inform us that we wouldn't need the protective clothing until the second act, but I already had mine on, and kept it on - it wasn't too warm, fortunately.
Ooh, how to describe this play? I don't know where to start, so I'll start at the beginning. Actually, before that - because, before the play even gets going, you gradually come to notice an old lady sitting on a bench to the side, looking sad. The lady beside me was confused, and consulted the lady on her other side, who had a programme - turned out this was Maggie Steed, who's playing Queen Margaret. Which reminded me of the review I read at the weekend, which pointed out that this is generally quite a minor role, but they've made much more of it here.
Which is just the first of many shocks of this production. All the characters come in, en masse, at the start, and the relevant ones play their parts while the others stay on stage, frozen in place. A good way to introduce us to everyone - as Richard III mentions people, he can go around pointing at them. I was surprised to see Gina McKee in the cast - she plays Queen Elizabeth. I was trying to remember what I'd last seen her in, and upon reading her bio, realised that she played Caterina Sforza in The Borgias. And Martin Freeman, as Richard III, is, frankly, hilarious.
Yes, you read me right - hilarious! This is a performance that flings itself at you, right from the start. I do believe I've read a description of it as "visceral". Yup, that'd be right. And I don't know whether to praise the acting or the direction more - everyone involved is outstanding. The acting is, as you would expect, world-class: and I have never seen a more imaginatively directed version of this play! The setting is unusual - well, I've also seen it done in 1930s style a couple of times, so that's not a first. But what they do with the script really enlivens it, playing with the words, giving them a new twist.
This play has variously been described as a history and as a tragedy, and the tragedy is very apparent here. There is a real humorous streak, more apparent at the beginning - but this is not a play for the squeamish. They do like their blood, which is dark red, and - everywhere. Well, to be fair, a lot of people die in this. There's a severed head at one point, which is absolutely soaked in the stuff. When the ghosts of those that Richard has murdered appear to him at the end, they're soaked in it too. Indeed, by the end, I don't think there's a single cast member who hasn't got bloody - their laundry bill must be terrible! There are some gruesome murders, quite gleefully enacted. And it's quite a spooky play, with sinister music, and Queen Margaret busily cursing people, then hovering around the edges, despite having nothing to say - her figure presenting itself as a spectre of doom.. and let's not forget those ghosts!
Well, of course, all this makes for great fun. Or so I thought - the lady to my left didn't seem to agree. I noticed she had her hand to her face several times during the first half, and she kept looking over at me, I'm sure, doubtless wondering at my rapt expression. She left at the interval and didn't return. Shame - those seats aren't cheap. But this won't be to the liking of those with delicate sensibilities. Neither is it suitable for those with photosensitive epilepsy - they represent the battle scenes with flashing lights. As for the blood spatter - as I suspected, they were just being cautious. Someone is stabbed in the jugular at one point, and the blood does indeed spatter, but certainly tonight it hadn't a hope of reaching past the first row. People in the first row might indeed be advised to wear protective clothing! There's probably also a slight element of hype in those warnings.
BTW, I was rather glad of the extra space once the seat beside me was free - legroom is a bit snug, even in the premium seats!
I was peckish, not having had time to eat before I left, so had a rather delicious chocolate chocolate-chip ice cream at the interval. Unusually, they provide you with two size options for ice cream. I also bought a programme, and hardly got any of it read before the second act. Then I promptly forgot it in the kerfuffle of removing my black jumper and collecting my belongings to leave. I only remembered it when I saw them on sale in the lobby - but there was too much of a crowd to go back for it. Nuts!
Might I also sound a note of annoyance about the lady to my right. A seat in Hell is surely reserved for people who use their mobiles inappropriately, and she saw fit to text busily throughout the second act. At least she seemed to be enjoying it - maybe she was texting her opinion. Surprise, surprise - as we climbed the stairs at the end, she was holding up everyone again - we all had to squeeze past her, as she texted away again..
I must seriously, seriously recommend this play. This is, literally, the best thing I've seen in months. Runs until 27 September, booking essential - although demand seems to have slowed: I think it's bookable a week in advance now. If you have any interest in this play - and you don't mind rivers of blood - you must see this!
Phew! Well, tomorrow is looking like Boat People, a film about a photojournalist returning to Vietnam, at the BFI. If I feel like it. Then, on Thursday, I have a ticket to Marry Me a Little, at the St. James Studio - haven't been to the studio on this site before! It's a musical comprised of discarded songs from other musicals by Stephen Sondheim..
Monday, 4 August 2014
Play: The Nightmares of Carlos Fuentes
Yup, it happened again. Time Out's listings changed. I'm gonna have to move to Dalston, I think - tonight's play, The Nightmares of Carlos Fuentes, was on in the Arcola again! Hey, at least I know the way..
So, I didn't even have to look up the time to leave at - I knew I had to catch the 6.20 Overground from West Brompton. Which I did, just managing to squeeze on. Yes, it was another sweaty journey. At, I think, Kensington Olympia, someone got on whom I recognised - let's call him the Overground oddball. This is a tall-ish black man, who gets onto the front carriage of the Stratford-bound Overground that passes through Kensington Olympia at about 6.25pm on weekdays, wearing a pale-coloured, short-sleeved, check shirt and one of those sleeveless jackets with all the pockets, and carrying a plastic Waitrose bag. If he can't get a seat - likely at this hour - he proceeds to hang off the overhead bars on both sides of the carriage, thus taking up more space than he should (one hand on each bar). And he's talking and singing to himself. And then he starts rocking violently, back and forth. He was on the train last week as well, but I wasn't near him - this evening, I was right beside him, which was great fun as I tried to avoid his rocking. Anyway, he gets more and more agitated until he gets a seat, then calms right down - apart from the odd muttering to himself. Someone offered him her seat this evening, which was a great relief to us all! The lady standing beside me had already moved down the carriage to stand somewhere else, as soon as there was a space.
Me, I didn't get a seat until near the end of my long journey, and a sweaty journey at that. At least there was some air after many passengers got off at Hampstead Heath. But what a relief it was to get off at last.. I was well in time for the play, and knew my way, although you come across the Arcola Bar first, and I nearly went in there; it's been a while since I was in the Arcola proper. I soon realised my mistake and went to the theatre door, where I queued to buy a ticket - this is nowhere near booking out. As we were queueing, the lady behind the counter asked whether anyone was waiting to collect a ticket for the Arcola Tent - they could collect it at the tent itself. One woman stepped forward, said she was. Off she went to the tent. Mind you, by the time I'd bought my ticket, she was back, irate: turns out she hadn't bought a ticket for the tent at all, thought that anyone collecting a ticket could get it there. Yes, well..
After a short wait, we were let into the auditorium. When I was choosing my ticket, she had advised me that, with only side seats available, I might do well to choose one near the corner - so I did. Mind you, it was tricky finding where the seat was! There are no floor markings for the different rows - you had better remember the seating arrangement from when you chose your seat! I figured mine should be in the far corner, and counted from the front to see which row was mine. I knew my seat was on the end. It was only after I took my seat that I noticed the teeny tiny labels on the seat frames, with the seat numbers on 'em. Challenging! We were also asked, when crossing to the other side of the stage, not to step on the carpet that covered part of the stage area. No such warnings seemed to apply when we were leaving - they didn't seem to mind us trampling all over their pale-coloured carpet then..
This is an interesting play. It's a series of snapshots from the life of Carlos Fuentes, an Iraqi immigrant to the UK. Scene by scene, more of his story is revealed to us - including why his name is Carlos Fuentes! And it behoves the audience to remain open-minded, because every single scene changes our perspective - the more so, because they jump backwards and forwards in time. A projection, high on the wall behind the stage, gives the month and year, among other things, and helps to keep us on track.
It starts out very funny - although, in the first scene, when they're looking for the key to let him out of the handcuffs he's wearing as part of a sex game, they really should've hidden that key better! I could see it for several minutes before they decided to find it. Things become more and more serious, however, as the play progresses. And maybe we're being shown how serious life is for Iraqis, and others in their situation, as opposed to the frivolity of life in Britain.
As I say, interesting. Runs until the 16th - plenty of seats available, if tonight was anything to go by. Warning - there are a few explosions, which might be disturbing to those of a nervous disposition.
Well, tomorrow night, courtesy of lovetheatre, I finally get to see Richard III, with Martin Freeman. Premium seat - and in the third row from the stage, which should be far enough back to avoid the blood that the website warns might splash on the audience. Though mind you, I'm unsure what they intend when they advise patrons to "dress appropriately" in those rows: plastic macs..?
So, I didn't even have to look up the time to leave at - I knew I had to catch the 6.20 Overground from West Brompton. Which I did, just managing to squeeze on. Yes, it was another sweaty journey. At, I think, Kensington Olympia, someone got on whom I recognised - let's call him the Overground oddball. This is a tall-ish black man, who gets onto the front carriage of the Stratford-bound Overground that passes through Kensington Olympia at about 6.25pm on weekdays, wearing a pale-coloured, short-sleeved, check shirt and one of those sleeveless jackets with all the pockets, and carrying a plastic Waitrose bag. If he can't get a seat - likely at this hour - he proceeds to hang off the overhead bars on both sides of the carriage, thus taking up more space than he should (one hand on each bar). And he's talking and singing to himself. And then he starts rocking violently, back and forth. He was on the train last week as well, but I wasn't near him - this evening, I was right beside him, which was great fun as I tried to avoid his rocking. Anyway, he gets more and more agitated until he gets a seat, then calms right down - apart from the odd muttering to himself. Someone offered him her seat this evening, which was a great relief to us all! The lady standing beside me had already moved down the carriage to stand somewhere else, as soon as there was a space.
Me, I didn't get a seat until near the end of my long journey, and a sweaty journey at that. At least there was some air after many passengers got off at Hampstead Heath. But what a relief it was to get off at last.. I was well in time for the play, and knew my way, although you come across the Arcola Bar first, and I nearly went in there; it's been a while since I was in the Arcola proper. I soon realised my mistake and went to the theatre door, where I queued to buy a ticket - this is nowhere near booking out. As we were queueing, the lady behind the counter asked whether anyone was waiting to collect a ticket for the Arcola Tent - they could collect it at the tent itself. One woman stepped forward, said she was. Off she went to the tent. Mind you, by the time I'd bought my ticket, she was back, irate: turns out she hadn't bought a ticket for the tent at all, thought that anyone collecting a ticket could get it there. Yes, well..
After a short wait, we were let into the auditorium. When I was choosing my ticket, she had advised me that, with only side seats available, I might do well to choose one near the corner - so I did. Mind you, it was tricky finding where the seat was! There are no floor markings for the different rows - you had better remember the seating arrangement from when you chose your seat! I figured mine should be in the far corner, and counted from the front to see which row was mine. I knew my seat was on the end. It was only after I took my seat that I noticed the teeny tiny labels on the seat frames, with the seat numbers on 'em. Challenging! We were also asked, when crossing to the other side of the stage, not to step on the carpet that covered part of the stage area. No such warnings seemed to apply when we were leaving - they didn't seem to mind us trampling all over their pale-coloured carpet then..
This is an interesting play. It's a series of snapshots from the life of Carlos Fuentes, an Iraqi immigrant to the UK. Scene by scene, more of his story is revealed to us - including why his name is Carlos Fuentes! And it behoves the audience to remain open-minded, because every single scene changes our perspective - the more so, because they jump backwards and forwards in time. A projection, high on the wall behind the stage, gives the month and year, among other things, and helps to keep us on track.
It starts out very funny - although, in the first scene, when they're looking for the key to let him out of the handcuffs he's wearing as part of a sex game, they really should've hidden that key better! I could see it for several minutes before they decided to find it. Things become more and more serious, however, as the play progresses. And maybe we're being shown how serious life is for Iraqis, and others in their situation, as opposed to the frivolity of life in Britain.
As I say, interesting. Runs until the 16th - plenty of seats available, if tonight was anything to go by. Warning - there are a few explosions, which might be disturbing to those of a nervous disposition.
Well, tomorrow night, courtesy of lovetheatre, I finally get to see Richard III, with Martin Freeman. Premium seat - and in the third row from the stage, which should be far enough back to avoid the blood that the website warns might splash on the audience. Though mind you, I'm unsure what they intend when they advise patrons to "dress appropriately" in those rows: plastic macs..?
Thursday, 31 July 2014
Opera: Cosi Fan Tutte
Last night's plans were changed when I ended up going for unanticipated birthday drinks. Well, I didn't have anything booked, and what I was planning on doing wasn't as attractive..
Then, Time Out delivered quite a shake-up for today. There I was, anticipating a film, and they throw up Cosi Fan Tutte, by the Pop-Up Opera. Ooh, lovely! I thought. ..in Dalston. Really..? Twice in one week? Cruel and unusual punishment! Not railing against Dalston, just against the amount of time it takes to get there, and more particularly, to get back, since by that time of night there are no more direct Clapham Junction trains, and I have to change at Willesden Junction - which generally involves a considerable wait. O well.
Now, the pop-up opera does what it says on the tin - they pop up in unusual venues, for one night only, perform an opera, and pop off again. So, tonight they were in a place called the Dalston Department Store - a deserted warehouse. Entry was by industrial lift. Ooh! Now, it wasn't selling out, but given that I didn't know what the story was with buying tickets on the door, it being a non-typical venue - and given that there was a countdown timer on the website, showing how long was left to buy tickets.. I thought, maybe I'd better book. So I did. Then researched how to get there and back - I discovered it's just past the Arcola, where I usually go in Dalston. For some reason, Google Maps was reluctant to let me come back by Overground - as was TFL - but I carefully checked the timetable and saw that I needed to make a train back by 10.55PM; the ticket said the show would finish at 10.30PM, so that should be fine. Checked my route on Streetview, and what time train I needed to get on the outbound journey, and I was off.
The train I got to Dalston Kingsland this time was a bit earlier than the one I got last - and it showed. The earlier time meant there were a lot more commuters, and the train was packed! On such a hot day, the journey was really unpleasant, and I was dripping in sweat by the time I got a seat, a few stops later. At that point, I could read my paper, where I came across a couple of interesting, theatre-related articles. The first highlighted how London is the theatre capital of the world; witness the figures. The second was a warning about a ticket website - Best of Theatre. Now, I'm sorry, but the people who wrote this article must be very naïve. I don't see a single thing that this website does differently from others. Yes, they sometimes charge more than face value - they all do that. Yes, they sometimes charge more than the official ticket site does - they all do that, too! As I ALWAYS say, shop around!! and ALWAYS check the official vendor. There have been several occasions when I've bought from the official site, because they did the best deal. In fact, I usually go with third-party vendors only when the official site is sold out - not for a better deal. You will rarely get a better deal than with the official vendors. Sometimes, not often.
It was a relief to get off the train and into a cool breeze. I turned right from the station, and proceeded down the road, past the snazzy hoarding, past Dalston Junction station and past a map that showed me I was headed in the right direction. Turned left when I got to the Haggerston pub, and followed the road. By now, there was a crowd in front of me, all of whom were headed the same way. We proceeded to the warehouse at the corner, where a long queue had formed - the lift, it transpires, only holds ten at a time, one of whom is the operator. I was glad I'd got my ticket in advance - so had everyone else, it seemed, and while I figured they'd probably have given me a ticket on the door, I was glad not to have to test my theory. I couldn't see a cash box.
The poor lady taking the tickets had fallen down the steps and injured her ankle - they'd put some ice in a plastic bag and tied it around the ankle, which was propped on a chair. They explained the story to everyone who came - which somewhat added to the delay. Hey-ho, people were asking. We crammed into the lift, which is quite snug when full, and the operator had to squeeze his arm through us to actually get to the controls to let us out! We stepped into a spacious basement, where there was a cloakroom just at the entrance, and further in, a bar to the side, at the back, then folding chairs facing the stage area. There was a piano to one side of the stage, a screen to the other, and a fan operated throughout the evening. Even so, it got a bit stuffy, and hand fans were much in evidence.
Seating was unallocated, and it was already half full when I arrived. I decided an aisle seat was the thing - easier to see. I later decided that an important consideration for this production is to see the screen, because that's where the surtitles are projected. The chairs weren't the most comfortable.. but I forgot all that as soon as the show started.
Because this company is truly fantastic! They are young opera singers, and boy can they sing. The great thing about non-traditional venues like this is that they come and sing amongst the audience, and - especially on the aisle - you can easily end up with one belting out an aria right beside your ear. Believe me, that's an experience. Other points about sitting on the aisle: 1. Keep your feet in, there's a lot of running up and down. 2. If you sit anywhere near the front, you are likely to be included in the show. In some small way - don't worry, no singing required!
Oh, and those surtitles? Well, let's just say they take some artistic licence. They give a gist of the show, in a very irreverent way. I mean, my Italian is rusty, but I don't think that Mozart mentioned Skype anywhere in the writing! Hilarious. A top-class show, for a bargain-basement (literally!) price: every scene was followed by raucous cheers and loud applause. It's only a pity I can't recommend you go see it, because it was one night only. But do check out their website for upcoming productions! BTW, although they started late, and the interval ran late, they still finished before the advertised time on the ticket - a relief for me, having such a long journey to make. And as I waited at the station, I noticed that Irish flag is still there, flapping in the breeze.
Well, it's back to Ireland tomorrow, for the weekend. For Monday, it's a film - and the film listings are as sparse for next week as for this week. There just isn't a lot out right now that's very good! So it's still looking like The Purge: Anarchy.. Oh, and unbelievably, I scored a ticket to Richard III on Tuesday! Courtesy of lovetheatre, and glad to get it! Premium seat too - Row C, of which I'm glad: I hear Rows A and B are liable to be splashed with blood..
Then, Time Out delivered quite a shake-up for today. There I was, anticipating a film, and they throw up Cosi Fan Tutte, by the Pop-Up Opera. Ooh, lovely! I thought. ..in Dalston. Really..? Twice in one week? Cruel and unusual punishment! Not railing against Dalston, just against the amount of time it takes to get there, and more particularly, to get back, since by that time of night there are no more direct Clapham Junction trains, and I have to change at Willesden Junction - which generally involves a considerable wait. O well.
Now, the pop-up opera does what it says on the tin - they pop up in unusual venues, for one night only, perform an opera, and pop off again. So, tonight they were in a place called the Dalston Department Store - a deserted warehouse. Entry was by industrial lift. Ooh! Now, it wasn't selling out, but given that I didn't know what the story was with buying tickets on the door, it being a non-typical venue - and given that there was a countdown timer on the website, showing how long was left to buy tickets.. I thought, maybe I'd better book. So I did. Then researched how to get there and back - I discovered it's just past the Arcola, where I usually go in Dalston. For some reason, Google Maps was reluctant to let me come back by Overground - as was TFL - but I carefully checked the timetable and saw that I needed to make a train back by 10.55PM; the ticket said the show would finish at 10.30PM, so that should be fine. Checked my route on Streetview, and what time train I needed to get on the outbound journey, and I was off.
The train I got to Dalston Kingsland this time was a bit earlier than the one I got last - and it showed. The earlier time meant there were a lot more commuters, and the train was packed! On such a hot day, the journey was really unpleasant, and I was dripping in sweat by the time I got a seat, a few stops later. At that point, I could read my paper, where I came across a couple of interesting, theatre-related articles. The first highlighted how London is the theatre capital of the world; witness the figures. The second was a warning about a ticket website - Best of Theatre. Now, I'm sorry, but the people who wrote this article must be very naïve. I don't see a single thing that this website does differently from others. Yes, they sometimes charge more than face value - they all do that. Yes, they sometimes charge more than the official ticket site does - they all do that, too! As I ALWAYS say, shop around!! and ALWAYS check the official vendor. There have been several occasions when I've bought from the official site, because they did the best deal. In fact, I usually go with third-party vendors only when the official site is sold out - not for a better deal. You will rarely get a better deal than with the official vendors. Sometimes, not often.
It was a relief to get off the train and into a cool breeze. I turned right from the station, and proceeded down the road, past the snazzy hoarding, past Dalston Junction station and past a map that showed me I was headed in the right direction. Turned left when I got to the Haggerston pub, and followed the road. By now, there was a crowd in front of me, all of whom were headed the same way. We proceeded to the warehouse at the corner, where a long queue had formed - the lift, it transpires, only holds ten at a time, one of whom is the operator. I was glad I'd got my ticket in advance - so had everyone else, it seemed, and while I figured they'd probably have given me a ticket on the door, I was glad not to have to test my theory. I couldn't see a cash box.
The poor lady taking the tickets had fallen down the steps and injured her ankle - they'd put some ice in a plastic bag and tied it around the ankle, which was propped on a chair. They explained the story to everyone who came - which somewhat added to the delay. Hey-ho, people were asking. We crammed into the lift, which is quite snug when full, and the operator had to squeeze his arm through us to actually get to the controls to let us out! We stepped into a spacious basement, where there was a cloakroom just at the entrance, and further in, a bar to the side, at the back, then folding chairs facing the stage area. There was a piano to one side of the stage, a screen to the other, and a fan operated throughout the evening. Even so, it got a bit stuffy, and hand fans were much in evidence.
Seating was unallocated, and it was already half full when I arrived. I decided an aisle seat was the thing - easier to see. I later decided that an important consideration for this production is to see the screen, because that's where the surtitles are projected. The chairs weren't the most comfortable.. but I forgot all that as soon as the show started.
Because this company is truly fantastic! They are young opera singers, and boy can they sing. The great thing about non-traditional venues like this is that they come and sing amongst the audience, and - especially on the aisle - you can easily end up with one belting out an aria right beside your ear. Believe me, that's an experience. Other points about sitting on the aisle: 1. Keep your feet in, there's a lot of running up and down. 2. If you sit anywhere near the front, you are likely to be included in the show. In some small way - don't worry, no singing required!
Oh, and those surtitles? Well, let's just say they take some artistic licence. They give a gist of the show, in a very irreverent way. I mean, my Italian is rusty, but I don't think that Mozart mentioned Skype anywhere in the writing! Hilarious. A top-class show, for a bargain-basement (literally!) price: every scene was followed by raucous cheers and loud applause. It's only a pity I can't recommend you go see it, because it was one night only. But do check out their website for upcoming productions! BTW, although they started late, and the interval ran late, they still finished before the advertised time on the ticket - a relief for me, having such a long journey to make. And as I waited at the station, I noticed that Irish flag is still there, flapping in the breeze.
Well, it's back to Ireland tomorrow, for the weekend. For Monday, it's a film - and the film listings are as sparse for next week as for this week. There just isn't a lot out right now that's very good! So it's still looking like The Purge: Anarchy.. Oh, and unbelievably, I scored a ticket to Richard III on Tuesday! Courtesy of lovetheatre, and glad to get it! Premium seat too - Row C, of which I'm glad: I hear Rows A and B are liable to be splashed with blood..
Tuesday, 29 July 2014
Film: Hundraåringen som klev ut genom fönstret och försvann (The Hundred Year Old Man Who Climbed Out of the Window...)
...and Disappeared. Or The Centenarian Who Climbed Out the Window and Vanished. Or alternative translations!
Yes, I've done the top-recommended plays on the Time Out page, so I'm back to films - and with a shake-up in the IMDB ratings, this was the highest rated film showing today that I hadn't seen and would be interested in! I'd seen the trailer, so was confident that I'd like it, and off I went to the Prince Charles cinema after work. Of course, that meant a crammed Piccadilly Line to Leicester Square - I didn't get a seat, and I was dripping in sweat by the time I got off. It didn't help that the weather has turned hot again - at least we got a respite yesterday!
Mercifully, there wasn't a queue, and I soon got my ticket. I didn't think I'd have to give the whole title, and indeed, trailed off as she went to ring up my order. I treated myself to a reasonably priced Sprite, which I drank while I waited for the upstairs cinema to open. This is the smaller of the two screens here, but still a decent size, with nice, reclining, leather seats. There weren't many there, and seating is unallocated, so it was easy to get a good seat.
This film is, apparently, based on a best-selling book. Well, it's a helluva yarn! It's a Swedish comedy. The title, helpfully, tells you what happens in the first five minutes. Our hero is a 100-year-old explosives expert, who ends up in a nursing home, where he's rather bored. So one day, he eases himself out the window and heads off. And, as you might imagine, he has many adventures. Mind you, he has form - we get a fair number of flashbacks of an eventful life, that have him involved in the Spanish Civil War, working on the Manhattan Project, meeting Stalin, spying in the Cold War.. and all because of his love of, and capability with, explosives.
Yes, it's completely over the top - as is what happens to him, and his bemused comrades, after he escapes from the nursing home. But it's deliciously funny - think of the kind of humour employed in Fargo. The one point where it falters is in the depiction of world leaders - Reagan, in particular, looks as though he's wearing a rubber mask, and I don't wonder we don't see him in close-up. Gorbachev ain't convincing either. The others I can't vouch for - I've only ever seen photographs. But you know, it's a small gripe about what is a very enjoyable film. Go see, give yourself a laugh!
Afterwards, I needed food - hadn't had time to eat before the film - but didn't fancy anything fussy. So, rather than the obvious option of Chinatown, I wandered round the corner, where I found a Garfunkels, and was well fed. Good food, really friendly service, not a bad price. Funny thing though - what is it with Garfunkels and drinks orders? Most places serve the drinks first - in Garfunkels, you're left waiting..
For tomorrow's film, it's looking like David, the story of a little Muslim boy in New York, whose Jewish pals think he's one of them. Showing in JW3, apparently a Jewish cultural centre. Well and good, as long as what happened to me the last time I went to see a film in a Jewish centre doesn't happen again..! (See my post on "The Lady in Number 6".) What worries me is they're geographically quite close, and may be run by the same people. Well, I'll go have a look anyway.
Yes, I've done the top-recommended plays on the Time Out page, so I'm back to films - and with a shake-up in the IMDB ratings, this was the highest rated film showing today that I hadn't seen and would be interested in! I'd seen the trailer, so was confident that I'd like it, and off I went to the Prince Charles cinema after work. Of course, that meant a crammed Piccadilly Line to Leicester Square - I didn't get a seat, and I was dripping in sweat by the time I got off. It didn't help that the weather has turned hot again - at least we got a respite yesterday!
Mercifully, there wasn't a queue, and I soon got my ticket. I didn't think I'd have to give the whole title, and indeed, trailed off as she went to ring up my order. I treated myself to a reasonably priced Sprite, which I drank while I waited for the upstairs cinema to open. This is the smaller of the two screens here, but still a decent size, with nice, reclining, leather seats. There weren't many there, and seating is unallocated, so it was easy to get a good seat.
This film is, apparently, based on a best-selling book. Well, it's a helluva yarn! It's a Swedish comedy. The title, helpfully, tells you what happens in the first five minutes. Our hero is a 100-year-old explosives expert, who ends up in a nursing home, where he's rather bored. So one day, he eases himself out the window and heads off. And, as you might imagine, he has many adventures. Mind you, he has form - we get a fair number of flashbacks of an eventful life, that have him involved in the Spanish Civil War, working on the Manhattan Project, meeting Stalin, spying in the Cold War.. and all because of his love of, and capability with, explosives.
Yes, it's completely over the top - as is what happens to him, and his bemused comrades, after he escapes from the nursing home. But it's deliciously funny - think of the kind of humour employed in Fargo. The one point where it falters is in the depiction of world leaders - Reagan, in particular, looks as though he's wearing a rubber mask, and I don't wonder we don't see him in close-up. Gorbachev ain't convincing either. The others I can't vouch for - I've only ever seen photographs. But you know, it's a small gripe about what is a very enjoyable film. Go see, give yourself a laugh!
Afterwards, I needed food - hadn't had time to eat before the film - but didn't fancy anything fussy. So, rather than the obvious option of Chinatown, I wandered round the corner, where I found a Garfunkels, and was well fed. Good food, really friendly service, not a bad price. Funny thing though - what is it with Garfunkels and drinks orders? Most places serve the drinks first - in Garfunkels, you're left waiting..
For tomorrow's film, it's looking like David, the story of a little Muslim boy in New York, whose Jewish pals think he's one of them. Showing in JW3, apparently a Jewish cultural centre. Well and good, as long as what happened to me the last time I went to see a film in a Jewish centre doesn't happen again..! (See my post on "The Lady in Number 6".) What worries me is they're geographically quite close, and may be run by the same people. Well, I'll go have a look anyway.
Play: Holes
I am certainly ploughing my way through the plays listed in Time Out! Six plays I've been to now, in just over a week. Last night was Holes, showing in the Arcola Tent. Now, I didn't know they had a tent.. anyway, they said payment on the door should be cash, so I figured I could pay on the door (booking didn't seem heavy). And I got out some cash. And at the appropriate time, I moseyed down to the station to catch the Overground to Dalston Kingsland. Dalston Junction is actually slightly closer, but Dalston Kingsland is more convenient for me, given that I can get the Overground straight there.
The trip was so long that the free paper I picked up at the start of the journey was finished a good bit before I got off the train. I finally got a seat about 2/3 of the way there. Witnessed a woman with a "Baby on Board" badge have to ask a fellow a couple of times before he'd get up and let her have his seat - I guess he figured "age over beauty". Probably didn't see the badge at first. Anyway, she got it eventually.
From the station, hang a right and head for the hoarding across the road. That hoarding is on Streetview, it's been there for years. I did notice, last night, however, that the colour on that side of the road has changed from blue to red! Very snazzy. Take that street and follow it around - you soon come to the Arcola. I, of course, was looking for the Arcola Tent, so I kept going. Streetview hadn't been exactly sure where it was, but if you just persist, you come across a (I guess, temporary) wall with "Arcola Tent" prominently displayed. The tent itself is just inside that, and I joined the queue of people who mostly had to to collect tickets. Despite the "cash-only" warning on the website, she asked whether I wanted to pay cash or card - gave me a slip of paper that she'd scribbled on, and I was in.
Seating is on folding chairs - not the most comfortable: an elderly gent sitting near me decided, near the end, that the floor would be better. Legroom is fine, though. The place was more than half empty - glad I didn't pay a booking fee! This is theatre in the round. A circular stage is covered in sand, empty but for a lone stick at the start. This is the desert island that our heroes are stranded on, following a plane crash. There are four characters, and the play progresses from comedy to something darker.
Now, three of these characters work in the same company, and were on their way to a conference. So.. what you're essentially watching is "what would you do if you were stuck on a desert island with the people you work with?" and it is hilarious. You have the head of HR, slightly past her prime and fixated on Ian. Ian is the guy who blusters as if he knows everything, but actually doesn't. And there's Gus, who might actually know something, and whose prime concern when he discovers they won't make the conference is that so-and-so will take credit for his work. He, unfortunately, has broken his arm, leaving Ian as the self-appointed saviour of the group. The characters are brilliantly drawn. And there's a bemused 16-year old girl, who was orphaned in the crash, and finds herself the outsider in this new group. She has a role to play later on, though.
Yep, this is well done. It's always a shame to see something poorly attended, but that's the problem with out-of-town productions. Anyhoo, if you get a chance, it's worth a look - runs until the 9th. There is a basic bar at the entrance, BTW. The running time advertised on the website doesn't include the interval, as stated - so it's just over two hours, altogether. Sadly, I was just in time to miss a train back, so had to wait 15 minutes. During which time I noticed a large Irish flag outside a nearby house. Go figure. In the evenings, there are no direct trains back to West Brompton, so I had a 20-minute wait at Willesden Junction as well. The perils of the Overground, eh? Well, at least it's cheaper! So anyway, by the time I finally got home (and the rain that had been promised found me, just as I was around the corner from home!), it was too late to blog - hence the delay.
Well, having gone through pretty much all the plays at the top of the Time Out listings, I find myself back at films again! I was just re-checking the IMDB ratings, and there's a big shake-up.. there I was, all set to go see The Purge: Anarchy tonight - but I find that it's dropped to 7/10! So that leaves me with The Hundred Year Old Man Who Climbed Out of the Window and Disappeared, showing in the Prince Charles. It's a Swedish comedy. Trailer looks good! And it'll be a relief to remove such a long name from my film list.. Actually, it's looking like films up to and including Thursday (subject to change). There are higher rated films on tomorrow, but for Thursday.. if it's a film again, I will be going to The Purge: Anarchy. So I'm just swapping the nights around! And this is momentous, because it'll be the first time since I moved here that I saw a film rated at 7.. except for films I saw for free..
The trip was so long that the free paper I picked up at the start of the journey was finished a good bit before I got off the train. I finally got a seat about 2/3 of the way there. Witnessed a woman with a "Baby on Board" badge have to ask a fellow a couple of times before he'd get up and let her have his seat - I guess he figured "age over beauty". Probably didn't see the badge at first. Anyway, she got it eventually.
From the station, hang a right and head for the hoarding across the road. That hoarding is on Streetview, it's been there for years. I did notice, last night, however, that the colour on that side of the road has changed from blue to red! Very snazzy. Take that street and follow it around - you soon come to the Arcola. I, of course, was looking for the Arcola Tent, so I kept going. Streetview hadn't been exactly sure where it was, but if you just persist, you come across a (I guess, temporary) wall with "Arcola Tent" prominently displayed. The tent itself is just inside that, and I joined the queue of people who mostly had to to collect tickets. Despite the "cash-only" warning on the website, she asked whether I wanted to pay cash or card - gave me a slip of paper that she'd scribbled on, and I was in.
Seating is on folding chairs - not the most comfortable: an elderly gent sitting near me decided, near the end, that the floor would be better. Legroom is fine, though. The place was more than half empty - glad I didn't pay a booking fee! This is theatre in the round. A circular stage is covered in sand, empty but for a lone stick at the start. This is the desert island that our heroes are stranded on, following a plane crash. There are four characters, and the play progresses from comedy to something darker.
Now, three of these characters work in the same company, and were on their way to a conference. So.. what you're essentially watching is "what would you do if you were stuck on a desert island with the people you work with?" and it is hilarious. You have the head of HR, slightly past her prime and fixated on Ian. Ian is the guy who blusters as if he knows everything, but actually doesn't. And there's Gus, who might actually know something, and whose prime concern when he discovers they won't make the conference is that so-and-so will take credit for his work. He, unfortunately, has broken his arm, leaving Ian as the self-appointed saviour of the group. The characters are brilliantly drawn. And there's a bemused 16-year old girl, who was orphaned in the crash, and finds herself the outsider in this new group. She has a role to play later on, though.
Yep, this is well done. It's always a shame to see something poorly attended, but that's the problem with out-of-town productions. Anyhoo, if you get a chance, it's worth a look - runs until the 9th. There is a basic bar at the entrance, BTW. The running time advertised on the website doesn't include the interval, as stated - so it's just over two hours, altogether. Sadly, I was just in time to miss a train back, so had to wait 15 minutes. During which time I noticed a large Irish flag outside a nearby house. Go figure. In the evenings, there are no direct trains back to West Brompton, so I had a 20-minute wait at Willesden Junction as well. The perils of the Overground, eh? Well, at least it's cheaper! So anyway, by the time I finally got home (and the rain that had been promised found me, just as I was around the corner from home!), it was too late to blog - hence the delay.
Well, having gone through pretty much all the plays at the top of the Time Out listings, I find myself back at films again! I was just re-checking the IMDB ratings, and there's a big shake-up.. there I was, all set to go see The Purge: Anarchy tonight - but I find that it's dropped to 7/10! So that leaves me with The Hundred Year Old Man Who Climbed Out of the Window and Disappeared, showing in the Prince Charles. It's a Swedish comedy. Trailer looks good! And it'll be a relief to remove such a long name from my film list.. Actually, it's looking like films up to and including Thursday (subject to change). There are higher rated films on tomorrow, but for Thursday.. if it's a film again, I will be going to The Purge: Anarchy. So I'm just swapping the nights around! And this is momentous, because it'll be the first time since I moved here that I saw a film rated at 7.. except for films I saw for free..
Sunday, 27 July 2014
Play: Antony and Cleopatra
It was deliciously cool this morning - only about 21 degrees. Google Maps advised me that it would take 36 minutes to get to The Globe - in the event, it took me about 40. Tube to Mansion House and walk across Southwark Bridge. Clever of them to suggest that - I had Blackfriars in mind, but you can see from the map that Mansion House is closer. Their directions are really improving!
The only problem with Mansion House is the last time I was there, I got hopelessly lost looking for a bus stop. It's a complicated junction. So I spent ages poring over Streetview until I was sure I had a fair chance of finding the bridge, which you can't see from the station. In the end, I found my way quite easily. You get your first view of the Globe as you cross the bridge..
Yes, it's that little white building, snuggled in amongst all the bigger ones. Takes no time to get to once you're across. I queued for my ticket, noting that both of today's performances were sold out, as were all the tours - I overheard someone inquiring. Of course, as it was pointed out to her, the tours are more restricted in theatre season. Yes, this is a venue you need to plan ahead for! As I mentioned before, the official website was sold out when I looked, and I got my ticket from lovetheatre.
I really arrived too early.. the doors from the ticket office to the theatre don't open until nearer half an hour before showtime. Today, for a 1pm start, they opened at 12.20. At the same time, the ornate iron gates leading directly to the waterfront open - that's for people who already have their tickets. Or, if you want to make a grander entrance, you could go round that way after you collect your tickets. Otherwise, while you're waiting, there's a bar and giftshop, toilets, and somewhere to sit.
When you're let through into the "piazza" - the area right in front of the theatre - there are bars, an usher going around with a tray of goodies, and a cushion-hire kiosk. Cushions are strongly recommended, by the way, although you can bring your own if you'd prefer - seating is all on wooden benches. I asked about seat backs, but she asked to see my ticket, and said that I probably wouldn't need one - I was in the front row of my section (yay!) and could lean on the balcony. Also, there was a kind of railing behind me, that I could lean against. So I just took a cushion, for £1.
As I waited for the theatre doors to open, I noted the names on all the plaques on the ground - sponsors, I take it. I see Prince Edward has one, over by the theatre wall - good man! Lots of people with the Shakespeare name as well - they probably felt somewhat obliged! Finally, we were let in, and the nice lady told those of us with Upper Gallery tickets to keep going all the way to the top. I was actually the very first in my section. As we passed the Middle Gallery, on our way up, an usher dashed out to us, calling frantically, "Hold on! Hold on!" We assured her that we were headed further up.. It wasn't a difficult climb, anyway. The stairs are wide, and flights short - there are just a lot of them. But not a problem for people with fear of heights.
There were only two rows in my bay, and yes, I was in the front. Second from the end, before the divider from the next section. I had a feeling that no-one would come to the seat inside me, and so it proved - I guessed that lovetheatre had a pair of seats, of which I'd bought one, and they couldn't sell the other. Good job! the legroom is snug in this front row, and in the Upper Gallery, the railings are bunched tighter together than in the Middle Gallery, so you can't stick your legs through them as you can there. So, like last night, I spent the show twisted to the side. It is great to have the balcony to lean on though, and yes, in the Upper Gallery there are safety railings in front of each of the rows behind the front, so that gives you something to lean on. I noticed that, in the Middle Gallery sections to the side, there were benches with backs. I also noticed a wheelchair there, so the Middle Gallery is wheelchair-accessible.
Well, I do love lovetheatre, they gave me a great seat..
Not dead centre, but almost, with a great view of the stage. Note, in this shot, the side doors for the actors' entrances and exits, and the musicians' gallery. Below it is a pair of large double doors, for the entrance of larger set pieces - closed at the moment. You can take photos only until the actors come on stage. Standing tickets, in the "yard", are just £5, if you have the stamina. Note also that if it rains, umbrellas are not permitted in the yard, but they do sell rain macs. The stage and seating are covered. As the afternoon progressed, it heated up considerably, to the point where it became uncomfortable to lean on the balcony - the wood was too hot. But we did get some welcome cooling breezes.
Well, this is the place to see Shakespeare! The acoustics are terrific, although the actors did stop wryly from time to time to let a plane or helicopter pass overhead, until they could be heard again. Still, they have an easier time of it than in The Scoop, where they don't have such great acoustics! As the show progressed, the odd bird swooped in to sit above the stage, or on the roof above the galleries. Don't forget - this venue, and ones like it, are where his plays were designed to be performed. Certainly, the way Antony and Cleopatra was played today was perfect, with plenty of musical diversion, actresses flirting with men in the audience around the stage, stage effects including very realistic blood bags, and some dramatic stunts with men swooping in on ropes. The interval finishes with a soothsayer gutting, and reading the entrails of, a goat - and I cannot say that it wasn't a real goat, it certainly looked it! So, something to watch if you haven't gone for a drink. All good fun, just as intended.
Although a tragedy, much of this is played as a comedy, and all the better for it. Cleopatra, in particular, is great fun, flouncing around the stage, making the most of being Queen of Egypt. The musical accompaniment is fantastic, and despite the long running time, it's an experience that never drags. I highly recommend seeing anything here, of course - as I left, I looked around, and recognised sights I'd seen on the tour I took, years ago: and I remembered how jealous I'd been that this was a place you were supposed to come to see a play! and they were sold out that day, too. Do try to get to see this - see the website for details of dates of pre- and post-show discussions. Runs until 24th August.
I thought about visiting the toilet before I left, but the queue was too long and it wasn't urgent. I hadn't had time to eat much before I left, so food was next on the agenda. Stay well away from The Swan, adjoining the theatre, for food, unless you have very deep pockets! However, there are three restaurants on the way to Southwark Bridge. I've eaten in the Pizza Express before, and it's good, with a great view of St. Paul's - but I ate in Pizza Express yesterday, so fancied a change. There's also a Greek place - but I've seen Zizzi's restaurants so many times and never tried them, I thought I'd try that. What a mistake, and what a pity, after such a great day! I was quite quickly seated, facing the river - although the view isn't as nice as at Pizza Express, it's ok; you can watch the boats, you get a good view of a fine old river-facing building across the way. The pinot grigio I had was lovely, the garlic bread was excellent. But for my main course, I had, essentially, chicken and pasta in a tomato sauce. Frankly, I'd have expected better from a supermarket microwaveable meal. It was pretty tasteless. And what little chicken there was, was obviously dark meat. As for the mushrooms I was supposed to have - I think I spied one. Well, half of one. And when I wanted the bill, there wasn't a hope of grabbing anyone! When I did, it took her so long to get it that I asked someone else - finally ended up with two bills! No, I won't be back - as I told them in the survey they invited me to complete.
Never mind.. tomorrow, what's coming up is a play called Holes, at the Arcola Tent (ooh, they have a tent!) It's about survivors of a plane crash - topical. I do hope the weather is cool enough not to put me off..!
The only problem with Mansion House is the last time I was there, I got hopelessly lost looking for a bus stop. It's a complicated junction. So I spent ages poring over Streetview until I was sure I had a fair chance of finding the bridge, which you can't see from the station. In the end, I found my way quite easily. You get your first view of the Globe as you cross the bridge..
Yes, it's that little white building, snuggled in amongst all the bigger ones. Takes no time to get to once you're across. I queued for my ticket, noting that both of today's performances were sold out, as were all the tours - I overheard someone inquiring. Of course, as it was pointed out to her, the tours are more restricted in theatre season. Yes, this is a venue you need to plan ahead for! As I mentioned before, the official website was sold out when I looked, and I got my ticket from lovetheatre.
I really arrived too early.. the doors from the ticket office to the theatre don't open until nearer half an hour before showtime. Today, for a 1pm start, they opened at 12.20. At the same time, the ornate iron gates leading directly to the waterfront open - that's for people who already have their tickets. Or, if you want to make a grander entrance, you could go round that way after you collect your tickets. Otherwise, while you're waiting, there's a bar and giftshop, toilets, and somewhere to sit.
When you're let through into the "piazza" - the area right in front of the theatre - there are bars, an usher going around with a tray of goodies, and a cushion-hire kiosk. Cushions are strongly recommended, by the way, although you can bring your own if you'd prefer - seating is all on wooden benches. I asked about seat backs, but she asked to see my ticket, and said that I probably wouldn't need one - I was in the front row of my section (yay!) and could lean on the balcony. Also, there was a kind of railing behind me, that I could lean against. So I just took a cushion, for £1.
As I waited for the theatre doors to open, I noted the names on all the plaques on the ground - sponsors, I take it. I see Prince Edward has one, over by the theatre wall - good man! Lots of people with the Shakespeare name as well - they probably felt somewhat obliged! Finally, we were let in, and the nice lady told those of us with Upper Gallery tickets to keep going all the way to the top. I was actually the very first in my section. As we passed the Middle Gallery, on our way up, an usher dashed out to us, calling frantically, "Hold on! Hold on!" We assured her that we were headed further up.. It wasn't a difficult climb, anyway. The stairs are wide, and flights short - there are just a lot of them. But not a problem for people with fear of heights.
There were only two rows in my bay, and yes, I was in the front. Second from the end, before the divider from the next section. I had a feeling that no-one would come to the seat inside me, and so it proved - I guessed that lovetheatre had a pair of seats, of which I'd bought one, and they couldn't sell the other. Good job! the legroom is snug in this front row, and in the Upper Gallery, the railings are bunched tighter together than in the Middle Gallery, so you can't stick your legs through them as you can there. So, like last night, I spent the show twisted to the side. It is great to have the balcony to lean on though, and yes, in the Upper Gallery there are safety railings in front of each of the rows behind the front, so that gives you something to lean on. I noticed that, in the Middle Gallery sections to the side, there were benches with backs. I also noticed a wheelchair there, so the Middle Gallery is wheelchair-accessible.
Well, I do love lovetheatre, they gave me a great seat..
Not dead centre, but almost, with a great view of the stage. Note, in this shot, the side doors for the actors' entrances and exits, and the musicians' gallery. Below it is a pair of large double doors, for the entrance of larger set pieces - closed at the moment. You can take photos only until the actors come on stage. Standing tickets, in the "yard", are just £5, if you have the stamina. Note also that if it rains, umbrellas are not permitted in the yard, but they do sell rain macs. The stage and seating are covered. As the afternoon progressed, it heated up considerably, to the point where it became uncomfortable to lean on the balcony - the wood was too hot. But we did get some welcome cooling breezes.
Well, this is the place to see Shakespeare! The acoustics are terrific, although the actors did stop wryly from time to time to let a plane or helicopter pass overhead, until they could be heard again. Still, they have an easier time of it than in The Scoop, where they don't have such great acoustics! As the show progressed, the odd bird swooped in to sit above the stage, or on the roof above the galleries. Don't forget - this venue, and ones like it, are where his plays were designed to be performed. Certainly, the way Antony and Cleopatra was played today was perfect, with plenty of musical diversion, actresses flirting with men in the audience around the stage, stage effects including very realistic blood bags, and some dramatic stunts with men swooping in on ropes. The interval finishes with a soothsayer gutting, and reading the entrails of, a goat - and I cannot say that it wasn't a real goat, it certainly looked it! So, something to watch if you haven't gone for a drink. All good fun, just as intended.
Although a tragedy, much of this is played as a comedy, and all the better for it. Cleopatra, in particular, is great fun, flouncing around the stage, making the most of being Queen of Egypt. The musical accompaniment is fantastic, and despite the long running time, it's an experience that never drags. I highly recommend seeing anything here, of course - as I left, I looked around, and recognised sights I'd seen on the tour I took, years ago: and I remembered how jealous I'd been that this was a place you were supposed to come to see a play! and they were sold out that day, too. Do try to get to see this - see the website for details of dates of pre- and post-show discussions. Runs until 24th August.
I thought about visiting the toilet before I left, but the queue was too long and it wasn't urgent. I hadn't had time to eat much before I left, so food was next on the agenda. Stay well away from The Swan, adjoining the theatre, for food, unless you have very deep pockets! However, there are three restaurants on the way to Southwark Bridge. I've eaten in the Pizza Express before, and it's good, with a great view of St. Paul's - but I ate in Pizza Express yesterday, so fancied a change. There's also a Greek place - but I've seen Zizzi's restaurants so many times and never tried them, I thought I'd try that. What a mistake, and what a pity, after such a great day! I was quite quickly seated, facing the river - although the view isn't as nice as at Pizza Express, it's ok; you can watch the boats, you get a good view of a fine old river-facing building across the way. The pinot grigio I had was lovely, the garlic bread was excellent. But for my main course, I had, essentially, chicken and pasta in a tomato sauce. Frankly, I'd have expected better from a supermarket microwaveable meal. It was pretty tasteless. And what little chicken there was, was obviously dark meat. As for the mushrooms I was supposed to have - I think I spied one. Well, half of one. And when I wanted the bill, there wasn't a hope of grabbing anyone! When I did, it took her so long to get it that I asked someone else - finally ended up with two bills! No, I won't be back - as I told them in the survey they invited me to complete.
Never mind.. tomorrow, what's coming up is a play called Holes, at the Arcola Tent (ooh, they have a tent!) It's about survivors of a plane crash - topical. I do hope the weather is cool enough not to put me off..!
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