Play: The Red Barn

Back with London Dramatic Arts last night, for a play called The Red Barn at the National. Traffic was a slight (1.5hr) nightmare again coming back from Guildford, but I'd left in time, so it was ok. Train to Waterloo - as usual these days, I just went for the nearest platform, struggled up the stairs, found a seat, and was willing to wait as long as it took for a train to appear. Better than dragging my poor leg through the whole station.

Limped my way to the theatre, found the side door, and managed to wind my way through to the Lyttleton bar, where the others were - the organiser had said they'd be at one of the long tables, and sure enough, there they were, at the very last. Boy, was I glad to get a seat. I was a little late to get a drink, and preferred to stay seated anyway - so I sat, and we chatted convivially. The organiser distributed our tickets - most of us were front row stalls, but a couple of people had benefitted from the late tickets she'd got, which were in the circle.

It started a bit late - well, they always do. We noticed captions, on screens high on the wall on either side of the stage. Wouldn't have been much good from the front row. Anyway, when the play did start, the first thing we noticed was how cinematic it was! In a very clever device, the safety curtain obscuring the stage is completely adjustable from all four sides, and can be slid in and out from each side - how they use this is to form "windows" through which we can see what's happening on stage - closing in so we concentrate on someone's face, opening out to give a broad shot, moving along the stage so we only see a particular part. Essentially zooming and panning - very clever!

Billed as a psychological thriller, it opens with two couples making for shelter in a Connecticut snowstorm. Not everyone makes it- but that's just the start of the story. The red barn is never actually seen, but does play something of a pivotal role - you might say it kicks things off. Terrific storm effects - as usual, people who are sensitive to flashing lights should beware.

One thing I did notice - and I wasn't the only one - was how slowly they speak. The consensus afterwards was that this was probably deliberate on the director's part. The acting is good - Hope Davis plays the patrician wife, Elizabeth Debicki the other wife, whose husband goes missing in the storm. The story, however, revolves around the man left at the centre of the piece, and his journey from the events of that night.

For me (and others), it dragged in the middle. Someone in the group did appreciate how understated it is - well, each to their own. Livens up at the end - but with an ending that we found unexpected, and a bit unnecessary - a couple of suggestions from group members for alternative endings did sound better to me. Hey-ho, it's certainly proving popular - I believe only day and rush tickets are left. Runs for 1hr 20mins without interval - and even in the front row, with unlimited legroom, we were stiff after that.

Afterwards, we suggested going for a drink - the organiser suggested popping across the road to the BFI bar. Via a corridor marked "toilets" - complicated place, the National. Terribly slow service in the BFI bar - and I do wish I'd got chips, as someone else did; they hadn't menus, and it didn't occur to me to ask. Well, the wine was good. Someone at the table mentioned he'd seen Hugh Laurie in the theatre lobby. Similarly, I piped up when I saw a mouse, over by the bar. The whole table turned to look, and the mouse did a little run-around before escaping stage right.


Looking forward to tonight, when the Man with the Hat is taking both London for Less Than a Tenner and Let's Do London - for less! to a Wayne McGregor mixed ballet programme at the Royal Opera House. This, I'm guessing, is why we went to Top Secret on Monday instead of the more customary Wednesday. The cheaper seats are with London for Less Than a Tenner, and are in the Slips - where I'm going to be; the others are in the Amphitheatre.

Tomorrow, I'm with Kensington Classical Music for a performance of The Snowman, and a Christmas concert, at St. James' Church Piccadilly. The organiser is very kindly giving me a free ticket, on account of concerts I've paid for before and missed. And it has nothing to do with the fact that it's also my birthday! :-) Anyway, good job I'm working from home that day - it's the earliest event start of the week.

Friday, I'm back to Ireland for the weekend, where - unusually, at the moment - we don't have anything scheduled. On Monday, I'm off with London Dramatic Arts to Trafalgar Studios, to see the Pulitzer-prize-winning Buried Child, with Ed Harris. Pity it clashes with the Crick Crack Club that night - I'd already booked this, but would rather have gone with them..

On Tuesday, London Dramatic Arts are off to Hampstead Theatre to see The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures, with Tamsin Grieg, which was rescheduled. And so am I - independently, just as I was supposed to for the original date. Better avoid them, as they're trying to flog the last couple of tickets.. This is the theatre I had to sneak out the back of, last time - which makes it interesting. Assuming I get there in time - it's on at 7, and I bloody well have to be in Guildford again.

Next Wednesday, I'm signed up with the London European Club for a talk at the Frontline Club about London's Dirty Money. Unless, you know, I decide to go to a film instead.

And Thursday of next week, I'm back with Crick Crack, in the Arthouse Crouch End (what a good job it's a Work from Home day) for one I missed before - Little Red Riding Hood & Other Lost Girls, as told by Nell Phoenix. And yes, I do have the confirmation email for this one, unlike the one I thought I'd booked for last Sunday!