Cold enough too, as I was on my way there - as cold as it had been on previous nights, I was really worried about the walk home. Anyway, took me about 20 minutes to get to Top Secret - and it's been so long since I was there, I actually looked for a box office. Imagine. After a couple of seconds, I realised where I was, headed downstairs and got my hand stamped. Now, on this occasion, they had a free show at 7, prior to the 8 o' clock main show, but as usual the place was practically deserted at this time. Which meant a gloriously small queue at the bar, and a pretty short search for a seat after.
Comprising most of the audience, we were sat near the back until someone in authority asked us please to move further forward, which would make for a better show. So we did. Why, I do believe the Man with the Hat - once his shepherding duties were done - spent most of the evening in the front row! Anyway, the free show on this occasion saw Archie Maddocks on stage. Like everyone else that night, he was taking notes on our reactions to his new material, which he was practicing for Edinburgh. Unlike everyone else, towards the end of his set, he had to contend with a much-raised noise level from the bar area, as people filed in for the second show. Terrible way to treat performers, I've always thought - but he dealt with it pretty smoothly. Smooth would be a good description for the entire set, and it was fascinating to see him decide what story to tell, and then tell it as if it had just occurred to him. Nice performance.
I do try not to go to the bar at the interval - the queue is horrendous. And I knew we'd be drinking afterwards - and anyway, this was the first time since Saturday I'd had a drink. So I took it easy. The rest of the night took the pattern of two acts followed by a break. Nathan Caton also came on with a notebook, ticking off the jokes that worked; Amy Howerska did a sharp set as the only woman of the night. And there were some other people. Sorry, not a clue who else came on! Not that they weren't good - on the whole, they were excellent, but it's hard to catch the names usually. Most impressive of the night for me was an Asian guy, who described himself as nearly 50, and shuffled on in a hoodie, delivering some killer lines. Great night, and a packed house - as usual.
Afterwards, huddled outside, we shivered at the Man with the Hat till he gave us permission to head down the road to the White Hart. With the back area quite crowded, we sat in the main bar for once - had a great night discussing urban slang, and sat enthralled as one of our number, with a natural gift for storytelling, regaled us with stories about her cracked neighbour. And so into the night, and a cold walk home, for me. Funny how the wind always blows a gale down Oxford Street, right against me - and pity the homeless guy I passed, sleeping on the street, in a sleeping bag, head turned against that gale..
Speaking of cold winds, I left the office on Thursday to a blizzard (also blowing straight against me). Seriously, I was wearing a blue coat, which soon turned white, and ended up damp - but just on the front:
Now, I couldn't go straight to the Albert Hall, where I had booked to see Amaluna: no, first I had to try and clear out my old room. Well, I checked what time I'd have to leave, then did my damnedest - whatever amount I managed to get done, however, I was determined to make this show. I did cut it pretty fine though - fastest was train to Victoria, then a bus. The departure boards at Clapham Junction were kind of confused about where the next train to Victoria was going from, and when - but by judicious running around among platforms, I got a train leaving pretty much immediately: nonstop. There was some chaos on account of delayed trains - I was lucky that one happened to arrive at a random delayed time that just suited me. I arrived at Victoria earlier than expected, which also threw Google Maps into confusion, but it sent me carefully to catch the 52, which happened along quite quickly, and deposited me at the Albert Hall with 10 minutes to spare.
Google Maps was good enough to show me where the various doors were, in this oval building, and I was glad to see how close Door 8 was to where I got off the bus. Now, this was the opening night, and we actually passed a - blue - carpet on the way in, sheltered by a covering, with one of those backings that they use for photoshoots, and lots of cold-looking people with cameras and microphones. No celebs though - by this time, I figured they were all comfily ensconced inside. I was glad to see my door, just past this, and glad too that I had a Print at Home ticket, so didn't have to carry on to find the box office. And when I was in, and the five-minute warning was being given, I felt myself quite justified in taking the lift, for once, all the way up to my cheap seat in the Circle.
Now, unless I paid a fortune, I don't think I could have got a much better seat - I was in the lower section of the Circle, to the side: which was fine, and although a handrail did impede my vision, well, not much. How much can a handrail really get in the way, anyway?!
Predictably, the show didn't actually start on time - they never do. I had a few minutes to settle myself. Now, as you might be able to take from the photo, this show is set in a jungle environment - just to highlight the fact, a guy darted around the stage and audience, flicking the tail of his costume and making a most believable lizard. I've seen a few Cirque du Soleil shows over the years, and know that you can always expect a fascinating display, with terrific attention to detail.
The basic story is that a ship is wrecked on the island of Amaluna, which seems to be populated entirely by women - the show bills itself as being all about the empowerment of women. A speech at the start explains that they're raising money for Oxfam's fight against women's poverty, and that 70% of the circus performers, and all the musicians, are female. And yes, it is fantastic - dancing girls on unicycles, aerialists, acrobats, memorable sequences involving a water bath, and all to a thumping rock track. Good enough that enthralled people keep forgetting to clap. For me, the most memorable act was when the backing track was silenced, leaving just the sound of breathing, accentuating the tension as a lone woman on stage oh, so carefully, balanced each of a large pile of what looked like long reeds on top of each other. Has to be seen to be believed, and although it continued for several minutes - in virtual silence - everyone's attention was riveted on it. As always, Cirque du Soleil comes highly recommended, and is well worth the price of admission. Cheapest tickets from the Albert Hall - never mind a view with a handrail in it, that doesn't matter at all. Runs until the 26th February. A very cold bus journey followed:
Back in Ireland now for the weekend, and had dinner this evening as usual in the Abbey Tavern, Quin. Excellent, as ever - we had lovely, soft garlic bread to start, my mother had salmon, accompanied with a most decorative lemon, and I had the sirloin, which was delicious. Have to say, though, I rarely find chips in Ireland as good as those in English pubs - it is one of the things they do best. Desserts were good - my mother praised the bread & butter pudding on the specials menu, which is rare for her, and I am a longterm fan of the chocolate cake. Unfortunately, however, they've changed their pinot grigio - and not only is it not as good as the previous one, but the tops of the small bottles are very hard to open - badly designed, and mine had to be torn open, giving me an uncomfortable scratch in the process. We'll be changing our wine in future, I think.
I have to TRY to finish cleaning the old place when I fly back tomorrow night. On Monday, I've booked for Festival of the Spoken Nerd, at Soho Theatre. Yes, it's a comedy.
On Tuesday, I had signed up for free comedy in Hammersmith (!) with Free Comedy Nights in Hammersmith Wimbledon and Farringdon, and London Live Comedy. But.. then I saw that Funzing UK had advertised Rising Stars: East England Burlesque Festival 2017. So I booked that instead - hey, I can get straight there on the Central Line! And I love burlesque. After booking, I got an email from them to point out that there are two events there that night, and that to avoid confusion, the name of mine has been changed to "Star Watch"..
On Wednesday, I've signed up with London Speaks Sessions, London for a Tenner or Less (as usual, NOT to be confused with the Man with the Hat), and LDN Talks @Night (or more particularly with Funzing) for a talk on The Science of Psychedelics.
On Thursday, free comedy in Hammersmith, with Free Comedy Nights in Hammersmith Wimbledon and Farringdon, and London Live Comedy.
On Friday, I'm finally headed to The Comedy About a Bank Robbery, at the Criterion Theatre. Same team that did The Play That Goes Wrong - which is excellent - so I'm looking forward to this. Best value tickets from the venue.
Next Saturday, I'm out with the Man with the Hat again - this time, it's Woolf Works, a Wayne McGregor triptych, inspired by the works of Virginia Woolf and showing at the Royal Opera House. Both his groups are going: London for Less Than a Tenner, and Let's Do London - for less! As usual, I have a cheap seat.
Sunday 22nd, the ever-busy Man with the Hat is headed (with Let's Do London - for less!) to a dance production - at Sadler's Wells, unusually for him. The Red Shoes, choreographed by Matthew Bourne, is completely sold out for its whole run. Our Man with the Hat has tickets, though.. but he held them back (under his hat, as you might say), with sales starting at 11am on New Year's Day. They sold out in 15 minutes - I checked. That's the speed of U2's ticket sales.. of course, being a seasoned purchaser of U2 tickets, I managed to get one. All he needs now are a stetson and some glasses.. (speaking of which, U2 are touring, and I have tickets. Purchasing still in progress. Watch this space..)
No comments:
Post a Comment