Play: Everyman

Another Monday, another play! It wasn't planned that way, but I checked Meetup, and a play was the most interesting thing happening. Mind you, it was advertised by one of those theatre groups that charge a membership fee, so I went on my own. They never give the theatre name, so I had to Google it - which is how I found out that Everyman is playing at the National. When I checked, they had three tickets left - two at £35, one at £25, which I took. And all in the stalls, which is nice!

Now, the National is one of those annoying venues that always seems to take a bit longer than you'd think to get to. So this was not an ideal evening to be delayed - but when the last button on my trousers popped (again!) on the way home, and I had to walk (gingerly) while holding them up, and pop into Tesco to buy safety pins to assist in this, what was I to do? I barely had time to get home and dump my stuff before rushing off again.

I had to change at Earl's Court - which always takes five minutes, for some reason - and, for a change, they made us stand on the platform for this period, rather than sit on a train wondering whether it's going to move. But we did get to Embankment in good time, and I didn't have to give myself a coronary climbing onto the bridge. Rushing not recommended - there are 42 steps (I counted) with a landing at the halfway point. Not easy if you're not used to it. As I crossed the bridge, rather pleased that I was about five minutes earlier for the show than is usual for me, I came across a rather more distressed commuter shouting into his phone. "It's not my fault, it's not your fault. It's the bloody train's fault! It's the woman who threw herself under the train.." Yes, there you have it folks, a cautionary tale. Please don't commit suicide by train - it's a terrible inconvenience.

I had checked my confirmation email for the right theatre (and the time) - there are three theatres onsite. I was looking for the Olivier, which handily enough has lift access, just inside the door and to the left. A sign warned us that tickets for the show were only collectable from the lobby until 6pm, after which you had to go to the kiosk on Level 2, where the Olivier theatre is. So I took the lift up there and joined the extremely long queue. Well, in my experience, you can't really trust the ATMs, which is a nuisance. Why they don't introduce Print at Home is a mystery to me. Meantime, both bells rang while I was in the queue, but I was gratified to be in the stalls for once and not have to climb another set of stairs.

I knew I was right on the left-hand side, which meant I was in one of the raised banks of seats at the side. Fair enough, and I made my way to my seat - gorgeously close to the stage, in Row F, and although the view was from the side, I couldn't say that I didn't see all the action. Really, I don't see the point in paying more for a more central seat. I needn't have worried too much about being late - it started late anyway, and with no interval, they were letting people in for ages. The couple beside me didn't arrive until at least 30 minutes in!

Now, I don't remember whether I've seen a production of this before - I may have, but I figure, if I can't remember for sure, that's fine and I can happily go, knowing I won't remember it anyway. It has been around for a while - it's actually a 15th century morality play about a chap who, faced with Death, realises that he will have to account for his life before God, and, worried that he won't have enough to say for himself, seeks people to come with him and give him a character reference, so to speak.

This production is written by the poet laureate, as it happens, and stars Chiwetel Ejiofor in the lead role, with Dermot Crowley showing up as Death ("God's heavy", as he describes himself). And it is incredible! A fast-paced adaptation, they've obviously strayed from the 15th century presentation, with a video wall at the back showing various evocative images - maybe a slight disadvantage to a side view for this, but I managed. Our star descends from the ceiling on wires, to depict him falling from a building, which is how Death takes him. And then we are plunged into his hedonistic 40th birthday party, which is supposed to have happened right before. And a fantastic, pumping soundtrack, including I Feel Love, which is still going through my head..

Don't worry though, this isn't a one-dimensional show. Much of the script is in verse, in deference to the origins of the play, and the story becomes really moving as Everyman finally appreciates the seriousness of his predicament, and realises that he has nowhere to turn for help. Much of the stage design is so inventive it left me gaping, and watch out for the woman cleaning the stage as you take your seat - she has a more important role than you might imagine. I loved the touch where they want to depict someone having a slash, but of course that's not considered acceptable - so they give a woman a prosthetic. Oh, watch out also for the bit on climate change, where they bring on a big fan.. and there are all these bits of paper strewn around the stage.. which end up flying into the audience..

This has got to be one of London's most unique productions. I felt compelled to give a standing ovation. You'd be mad to miss it if you get a chance to go. GO! Very highly recommended. Runs until 30 August - it's actually very unusual for me to see a show this early in its run. Limited availability up to the 18th of June though.

I am indeed in the Guildford office today, so no going out tonight - with an early start, I'll be too tired. Tomorrow, I'm headed to my first Meetup with the World Music Meetup - a Gypsy Jazz / World Music Jam at the Vortex club.