Dance: 1980

I spent some time researching how to get back from Sadler's Wells last night, from the show I had booked, because of the tube strike. Only to have the strike called off in the afternoon! Still, I needed to do a bit of research - it's been a while, and it is something of a trek. Tube to Holborn and a bus, essentially.

I picked up a Metro in Earls Court on my outward journey - this sustained me on the long trip to Holborn, and I finished it just before we pulled in. Then I picked up a Standard on my way out of the station - good timing! The direct bus from there to Sadler's Wells is just across the other side of High Holborn - under the overhead walkway, and the bus stop is on the other side of the road. The 341. Mind you, they unnerved me with their talk of temporary stops and diversions. Luckily, this happens to be one of the places in London where internet actually works on my phone, and I could check when the next bus was due. 6 minutes, lovely. And I knew it only takes about 7 minutes to the theatre. Still didn't help when I had no sooner got on the bus than it was announced that the destination had changed! But, fortunately, it still stopped right outside the theatre - Sadler's Wells might be a bit far from the Tube, but it's well served by buses.

The lobby was chaotic. I had to fight my way through to the box office to collect my ticket, and then queue forever to pick up a programme! Note - the programmes are cheaper if prebooked, and when you get your ticket, a programme voucher is tacked onto the end. I'd forgotten that - that's what the vendor needs to give you a programme. Anyway, programme in hand, I started upstairs, just as the five-minute call was made. Sadler's Wells is notable for being one of those venues that has lots of stairs, and I'd gone for the cheapest seat I could get - as usual - which was right at the top of the house. When I finally arrived, panting, at the top, and entered the auditorium, I had to climb again, to get to the back row. FYI The full railings stop after you pass the stairwell, but they do have those bars between rows, every couple of steps, that you can hold onto - just as well, because it's quite steep. Everywhere should have them - they're suitable for all venues. After all that climbing, the seats are comfortable, you'll be glad to hear.

The show was sold out, by the look of it - certainly the second circle, where I was. I only got a seat - and a cheap one at that - because I booked so early. There were a lot of twenty-somethings - from the conversation I overheard at the interval, I think a lot of them were studying it as part of their course.

As well they might. This piece, 1980, despite running in a dance venue, couldn't really be described as dance! Composed by the late choreographer, Pina Bausch, it's more dance theatre - or performance art. So, there's some dancing - but more people doing silly things, reciting, singing.. I actually think we were at something of an advantage, being so high up. I imagine this is how the choreographer saw it. You see, there are so many people on stage, doing so many different things, that you really have to be at a distance to gain some perspective.

The basic theme is adults' regression to childhood. And it makes for a hilarious evening. We have people in evening gowns playing chase, and hide-and-seek. We have people dressing and undressing each other like dolls. Mind you, the advantage to being close to the stage is that you might be served tea - a couple of the performers leave the stage during the evening, offering tea. I did like the way they snaked into the audience as well, parading through the aisles - and there's something hypnotic about their repetitive movements.

On a more serious note, there is social commentary too. Witness, in the second act, the "beauty pageant" display, which is rendered ridiculous by the behaviour of the contestants, and what they're required to do and say. Read into all this what you will - I just enjoyed it as a spectacle. And enjoy it I did! The lady beside me thought it was all a bit too avant-garde, and didn't engage her. As she said, she's sure it says something very important about the human condition, but..! Me, I liked it. I had fun. Yes, you could be profound about it - but I prefer to leave that to the students, who doubtless had to go off and write an essay on it.

To be fair, the lady beside me did have a point, in that it is very long, and whatever point they're making could doubtless be made more succintly. Indeed, at 3.5 hours, it was very long, and we all got very stiff. Legroom is ok for a regular-length show, but we were struggling by the end. And with such a packed house, there wasn't much wriggle room.. Runs until Sunday (no tickets available tomorrow). Very limited availability after tonight, and in general, only £50 & £60 tickets still to be had. But if you want something different, you will not do better than this!

Tonight, it looks like The Cement Garden, running in a pop-up theatre in the vaults under Waterloo Station, as part of the Vaults Festival. Located under the station, on the evocatively named Leake Street, Google Maps is my friend in getting there! I'll try to leave in good time, especially as it'll be dark. Tomorrow night is something else I booked over Christmas - I'm going to see Ghost Stories, in the Arts Theatre, on a meal and show deal I got with http://www.lastminute.com/. It's the opening night - should be fun. The deal is, I get a two-course meal at 6pm in Ruby Blue, in Leicester Square - not far from the theatre. The show is at 8. And the combined price is only £2 more than the cheapest ticket I could have got for the show! I'll take that.. The deal is currently running from 4 March to 22 May. The show itself is currently booking until 24 May.

And then it's back to Ireland for a quiet weekend!