Tonight, off to my last circus (and last event) of the year - Crash is at the Winterville Festival on Clapham Common. Tickets from SeeTickets. Sold out afterwards, it seems - I bought mine on Hallowe'en.
I discovered that the bus would take too long - but I could get a direct Tube in about half an hour! So I could leave nice and late - I took the opportunity to do a bit more work, and what with needing to go to the loo on the way out, did leave a bit later than intended. But hey, the Tube wasn't nearly as crowded as at rush hour, and came straight away - and I got a seat, which was handy with the distance I had to travel!
Clapham Common Station is at the northeast corner of Clapham Common itself. As long as you can point yourself in the direction of the common, Winterville itself is easy to find - the Ferris wheel is visible for quite a distance. Just follow your nose - walking along the main paths in that direction, you will come across the entrance. I was bricking it in the slow-moving queue to get in, as they checked our bags - I only had a few minutes till 7:30.
In I went, looking for a way towards the Circus sign I'd seen from the outside. But that turned out not to be it - instead, I ran into a massive queue to my left. Peering to the head of the queue, I saw a sign for the show! So be advised - it doesn't say "Circus", it says "Salon Perdu". This is the Spiegeltent, where the circus show is happening - and at 7:30, it wasn't even open for us to go in.
It opened shortly after, and the queue moved so slowly that it was 20 minutes before I took my seat - he was checking names off a list, in dim light. Not appreciated, with the unscheduled rain shower that poured down on us! Seating is either on the flat, or in reserved, raised booths, which cost slightly more. I chose a seat on the aisle, where I at least had an uninterrupted view of the very front of the stage. The show itself didn't actually start till nearly 8:10. In retrospect, the last place you want to sit for this show is directly facing it - side is much better. You might then avoid the glaring strobe lights that point straight from the back of the stage.
So I'm afraid I missed about half of the opening act, where a hare pirouettes in - I had to keep closing my eyes against the glare. At least you get warning when the bright lights are about to come on - the same piece of music always plays. Never mind, the balletic bunny - who hangs out (gracefully) at the bar in the interim - reappears on several occasions. The show lasts an hour, and the emphasis is heavily on ballet-style dance, and on rock music, some sung live on stage between acts.
There's a dreamlike quality to it - and with me missing sleep again, I'm afraid I had trouble keeping my eyes open in the middle. Absolutely no reflection on the performances, which are both accomplished and beautiful - if a bit slow-paced. The theme is supposed to be fairytales, although that just informs the mood - there's no major narrative. Just a suggestion that the bunny isn't as innocent as she seems, a hint of a love story, and a lass acting scared. I loved the feel of it - and I tell you what, the finale, a hectic aerial act, is worth the price of admission and the distance you have to come. I don't think I've ever seen an aerialist throw themselves so completely into a performance. Recommended. 18+ only. Performances again tomorrow (only unreserved seats) and on Saturday (only booth seats).
Outside, I braved some intense cold to have a look around. Winter Wonderland it ain't - no Christmas market for one thing, and it's a lot smaller. But they have a funfair, a two-screen cinema showing seasonal films, and the Spiegeltent, as well as some food stalls and bars, and alcoholic hot chocolate. Plenty of ATMs too, I noticed. Admission to Winterville itself is free, so worth a look if you're in the area - it's open till Sunday.
It was too cold to bother researching whether the bus would be faster coming back - I just took the Tube again. To find it on your way out, follow the lights. Tomorrow, I'm back to Ireland for Christmas - so, Merry Christmas and a Happy New Year to all! I might not be writing again before that.
I fly back on the 2nd, and on the 3rd I'm back with Walking in London for the Southwark Tour - Chronicles: Shakespeare's London. It's Funzing, of course, and I think this was the last I used my Funzing_Fb20 code for, getting a 20% discount. They've now apparently decided it's been used too often, and I'm down to a 10% personal discount.
On the 4th, I'm back at Soho Theatre for a comedy show - Jen Brister, with Meaningless.
The next few days are all Funzing, and the weekend is entirely with Look up London - excellent! She's so friendly, and always finds the most interesting tidbits for us. The 5th, I'm doing Unlock the Secrets of Fleet Street.
On the 6th, I'm doing The Greenwich Walk: Heroes and Villains.
And on the 7th, I'm with London Speaks Sessions, for a talk on Interviews With a Serial Killer. Funzing now have an Unlimited Talks option, where you can get unlimited talks for a month for £11.99 - however, not seeing anything else I fancy coming up that month, I've left it for now. As it is, I got a spectacular loyalty discount for this one!
Wednesday, 19 December 2018
Tuesday, 18 December 2018
Caffe Nero & The Hippodrome
Tonight, I provisionally arranged to meet that old friend I met a while ago - who said yes, probably ok, but things were hectic.. who was he telling?! Well, I was free most of the evening, so flexible.
8pm turned out to suit - which gave me the chance both to eat, and to do some more of that interminable work they have for me. We arranged to meet at the same place as before - I am rather fond of Caffe Nero's hot chocolate Milano. I was slightly late - but figured he's always running late anyway, and so it proved. So on the way, I stopped into the excellent Cards Galore and picked up a decent Christmas card for someone - there's a dismal lack of card shops near me.
And so to Caffe Nero, where I had far too much chocolate Milano over the next couple of hours (mostly due to his generosity), and we had a good old chat. Until they threw us out, 10ish.. and he suggested we find somewhere else. Well.. there was The Hippodrome straight ahead, which is open 24 hours - so why not? He'd never been there, but of course I have a few times, with Up in the Cheap Seats - after a show locally.
So, I was able to direct him to the upstairs bar, where we stayed for another couple of hours. We had seats, and a table - and to be fair, it wasn't too noisy. However, later I discovered that the lounge renovation is complete - and it's now quite an attractive nook, with plenty of snug corners, armchairs, and a fake fire. Quieter, too! Next time, perhaps.. By the time we left, the Tube had closed, leaving him with a bit of a conundrum about getting home. But you know, the buses run all night.. and are cheaper. Just maybe take a while, out to where he is..! Great to see him anyway - Christmas is great for catching up with folks. I also got the bus back - mine was an easier journey, even though I just missed one..
Tomorrow, off to my last circus (and last event) of the year - Crash is at the Winterville Festival on Clapham Common. Tickets from SeeTickets. Sold out now, it seems. Then I'm back to Ireland for Christmas on Thursday.
I fly back on the 2nd, and on the 3rd I'm back with Walking in London for the Southwark Tour - Chronicles: Shakespeare's London. It's Funzing, of course, and I think this was the last I used my Funzing_Fb20 code for, getting a 20% discount. They've now apparently decided it's been used too often, and I'm down to a 10% personal discount.
On the 4th, I'm back at Soho Theatre for a comedy show - Jen Brister, with Meaningless.
The next few days are all Funzing, and the weekend is entirely with Look up London - excellent! She's so friendly, and always finds the most interesting tidbits for us. The 5th, I'm doing Unlock the Secrets of Fleet Street.
On the 6th, I'm doing The Greenwich Walk: Heroes and Villains.
And on the 7th, I'm with London Speaks Sessions, for a talk on Interviews With a Serial Killer. Funzing now have an Unlimited Talks option, where you can get unlimited talks for a month for £11.99 - however, not seeing anything else I fancy coming up that month, I've left it for now. As it is, I got a spectacular loyalty discount for this one!
8pm turned out to suit - which gave me the chance both to eat, and to do some more of that interminable work they have for me. We arranged to meet at the same place as before - I am rather fond of Caffe Nero's hot chocolate Milano. I was slightly late - but figured he's always running late anyway, and so it proved. So on the way, I stopped into the excellent Cards Galore and picked up a decent Christmas card for someone - there's a dismal lack of card shops near me.
And so to Caffe Nero, where I had far too much chocolate Milano over the next couple of hours (mostly due to his generosity), and we had a good old chat. Until they threw us out, 10ish.. and he suggested we find somewhere else. Well.. there was The Hippodrome straight ahead, which is open 24 hours - so why not? He'd never been there, but of course I have a few times, with Up in the Cheap Seats - after a show locally.
So, I was able to direct him to the upstairs bar, where we stayed for another couple of hours. We had seats, and a table - and to be fair, it wasn't too noisy. However, later I discovered that the lounge renovation is complete - and it's now quite an attractive nook, with plenty of snug corners, armchairs, and a fake fire. Quieter, too! Next time, perhaps.. By the time we left, the Tube had closed, leaving him with a bit of a conundrum about getting home. But you know, the buses run all night.. and are cheaper. Just maybe take a while, out to where he is..! Great to see him anyway - Christmas is great for catching up with folks. I also got the bus back - mine was an easier journey, even though I just missed one..
Tomorrow, off to my last circus (and last event) of the year - Crash is at the Winterville Festival on Clapham Common. Tickets from SeeTickets. Sold out now, it seems. Then I'm back to Ireland for Christmas on Thursday.
I fly back on the 2nd, and on the 3rd I'm back with Walking in London for the Southwark Tour - Chronicles: Shakespeare's London. It's Funzing, of course, and I think this was the last I used my Funzing_Fb20 code for, getting a 20% discount. They've now apparently decided it's been used too often, and I'm down to a 10% personal discount.
On the 4th, I'm back at Soho Theatre for a comedy show - Jen Brister, with Meaningless.
The next few days are all Funzing, and the weekend is entirely with Look up London - excellent! She's so friendly, and always finds the most interesting tidbits for us. The 5th, I'm doing Unlock the Secrets of Fleet Street.
On the 6th, I'm doing The Greenwich Walk: Heroes and Villains.
And on the 7th, I'm with London Speaks Sessions, for a talk on Interviews With a Serial Killer. Funzing now have an Unlimited Talks option, where you can get unlimited talks for a month for £11.99 - however, not seeing anything else I fancy coming up that month, I've left it for now. As it is, I got a spectacular loyalty discount for this one!
Monday, 17 December 2018
Storytelling: Gilgamesh
Back from a weekend in Ireland - and the minute my nose hit the cold London air, it activated. I haven't stopped snuffling and sneezing since. It is a lot colder here, actually - it's all that rain in Ireland. the cloud cover acts as insulation.
My work meeting finished early, but I spent some time finishing something off. Still, it wasn't too late when I left - and although I missed the bus I intended to get, the next was along presently, and in fact passed the first one on the way! I was to meet Helen for dinner first - after navigating the horror of Southwest Trains, she'd spent the day at the cat exhibition at the British Library. I'm jealous - that's something I'd have been interested in myself - it does run till Paddy's Day, so I might make it yet.
She beat me to it, but I don't think I kept her waiting too long. So, into the Red Dog Saloon we ventured. A bit dark, but we could see plenty of free tables. We ended up at one in the middle, the ones by the wall all being for four. We were given one-page menus, drinks on one side, food on the other. We didn't fancy a starter, and both ended up going for the hickory burger, which sounded tasty, with fries. You can have three sizes of each burger - we both went for the smallest. I had the Spanish white wine, she had iced tea - which turns out to have unlimited refills!
We were served pretty quickly, and the food was tasty - if messy. I do HATE the policy of serving food on wooden trenchers. Oh, and the slice of tomato I had to remove from mine - I'm intolerant to tomato - was right on the bottom, which was awkward. We each had quite a large basket of fries, and our table was really too small for everything. By and large though, we fared ok - despite the weird lighting system.
The room was decorated with Christmas lights, which occasionally flashed on and off, occasionally stayed on, occasionally turned off completely - which is fair enough. However, to have the main lights going on and off randomly was just unsettling. There were two occasions that I counted when we were left completely in the dark! And several times, we were glad we'd already seen the menus, given that it would now have been too dark to read them. Maybe the dark was what confused the mouse into running into the dining room, from wherever he normally resides - he sat on the back of the couch for a while to pose for a customer's photo. Just as well we hadn't sat over there, on balance.
They turned out not to have desserts, and it took forever to get our bill. On our way out, we passed a Côte - might go for that, next time! It was great to see her, anyway.
I headed on to Soho Theatre, where I was early - for once! - for the performance of Gilgamesh, by Ben Haggarty of the Crick Crack Club. Their last performance of the year. Would you believe, I booked this on the 21st of August! Discovered as much when I was checking the confirmation, today. Sold out a while ago, as they tend to do. So I took myself to the bar, figured I might as well have another glass of wine - I asked for it in plastic, but had it finished by the time the house was open. Would you believe, I even got a seat in the bar! Hell, when I arrived, a whole table was free. Maybe because it was a Monday and they're saving themselves for Christmas. Unusual, though.
When they did call us, I took a moment to finish my drink, so wasn't in the first wave - and missed out on the front row, nuts. I got into the second, though - and handily, there were a couple of free seats beside me, where I could leave my stuff. Sometimes people can't make it - though they do welcome latecomers at these events. I also think they leave seats empty for storytelling here - there are always free seats at the sides. Perhaps the people who might have sat beside me sat there instead - the second row at the side is elevated, but not in the front-facing section, for storytelling.
What you can see in the photo are a covered stool, used in part of the story, and the music centre at the side, comprising a zither, a round drum with bells inside, similar to a tambourine, a small hanging bell, and several singing bowls - which I don't remember being used. You see, he'd brought a musician along - which I think added so much to the atmosphere, as always.
Gilgamesh is an ancient Mesopotamian epic. The oldest known major piece of literature, in fact! So, it concerns the epic adventures of King Gilgamesh, a mighty warrior: and all-round twat. Always spoiling for a fight, always getting into trouble, getting out of it by the skin of his teeth - perhaps with the loss of some innocent people along the way - and then singing his own praises afterwards. I'm not terribly impressed by war stories, frankly. So, as you can imagine, the first half of the performance - which had him and his pal slaying a giant and a bull, both sacred creatures, and performing feats of valour - I wasn't completely sold on. But it was beautifully performed, by both storyteller and musician.
I was much happier with the second half, which had less fighting and much more weirdness. Gilgamesh heads off on a fantastical journey to find his ancestor, who won the gift of eternal life. And when he eventually finds out how he did it - why, it turns out to be a carbon copy of the story of Noah's ark! So, Mesopotamian origins, huh?! Interesting. Anyway, a mesmerising evening of storytelling, with the spine-tingling accompaniment of Jonah Brody. And what a treat to have three storytelling evenings in such a short time! Looking forward to getting back to them next year.
Tomorrow, I've provisionally arranged to meet that old friend I met a while ago - who says yes, probably ok, but things are hectic.. who're you telling?! Well, I'm free most of the evening, so we'll see what happens.
On Wednesday, off to my last circus (and last event) of the year - Crash is at the Winterville Festival on Clapham Common. Tickets from SeeTickets. Sold out now, it seems. Then I'm back to Ireland for Christmas on Thursday.
I fly back on the 2nd, and on the 3rd I'm back with Walking in London for the Southwark Tour - Chronicles: Shakespeare's London. It's Funzing, of course, and I think this was the last I used my Funzing_Fb20 code for, getting a 20% discount. They've now apparently decided it's been used too often, and I'm down to a 10% personal discount.
On the 4th, I'm back at Soho Theatre for a comedy show - Jen Brister, with Meaningless.
The next few days are all Funzing, and the weekend is entirely with Look up London - excellent! She's so friendly, and always finds the most interesting tidbits for us. The 5th, I'm doing Unlock the Secrets of Fleet Street.
On the 6th, I'm doing The Greenwich Walk: Heroes and Villains.
And on the 7th, I'm with London Speaks Sessions, for a talk on Interviews With a Serial Killer. Funzing now have an Unlimited Talks option, where you can get unlimited talks for a month for £11.99 - however, not seeing anything else I fancy coming up that month, I've left it for now. As it is, I got a spectacular loyalty discount for this one!
My work meeting finished early, but I spent some time finishing something off. Still, it wasn't too late when I left - and although I missed the bus I intended to get, the next was along presently, and in fact passed the first one on the way! I was to meet Helen for dinner first - after navigating the horror of Southwest Trains, she'd spent the day at the cat exhibition at the British Library. I'm jealous - that's something I'd have been interested in myself - it does run till Paddy's Day, so I might make it yet.
She beat me to it, but I don't think I kept her waiting too long. So, into the Red Dog Saloon we ventured. A bit dark, but we could see plenty of free tables. We ended up at one in the middle, the ones by the wall all being for four. We were given one-page menus, drinks on one side, food on the other. We didn't fancy a starter, and both ended up going for the hickory burger, which sounded tasty, with fries. You can have three sizes of each burger - we both went for the smallest. I had the Spanish white wine, she had iced tea - which turns out to have unlimited refills!
We were served pretty quickly, and the food was tasty - if messy. I do HATE the policy of serving food on wooden trenchers. Oh, and the slice of tomato I had to remove from mine - I'm intolerant to tomato - was right on the bottom, which was awkward. We each had quite a large basket of fries, and our table was really too small for everything. By and large though, we fared ok - despite the weird lighting system.
The room was decorated with Christmas lights, which occasionally flashed on and off, occasionally stayed on, occasionally turned off completely - which is fair enough. However, to have the main lights going on and off randomly was just unsettling. There were two occasions that I counted when we were left completely in the dark! And several times, we were glad we'd already seen the menus, given that it would now have been too dark to read them. Maybe the dark was what confused the mouse into running into the dining room, from wherever he normally resides - he sat on the back of the couch for a while to pose for a customer's photo. Just as well we hadn't sat over there, on balance.
They turned out not to have desserts, and it took forever to get our bill. On our way out, we passed a Côte - might go for that, next time! It was great to see her, anyway.
I headed on to Soho Theatre, where I was early - for once! - for the performance of Gilgamesh, by Ben Haggarty of the Crick Crack Club. Their last performance of the year. Would you believe, I booked this on the 21st of August! Discovered as much when I was checking the confirmation, today. Sold out a while ago, as they tend to do. So I took myself to the bar, figured I might as well have another glass of wine - I asked for it in plastic, but had it finished by the time the house was open. Would you believe, I even got a seat in the bar! Hell, when I arrived, a whole table was free. Maybe because it was a Monday and they're saving themselves for Christmas. Unusual, though.
When they did call us, I took a moment to finish my drink, so wasn't in the first wave - and missed out on the front row, nuts. I got into the second, though - and handily, there were a couple of free seats beside me, where I could leave my stuff. Sometimes people can't make it - though they do welcome latecomers at these events. I also think they leave seats empty for storytelling here - there are always free seats at the sides. Perhaps the people who might have sat beside me sat there instead - the second row at the side is elevated, but not in the front-facing section, for storytelling.
What you can see in the photo are a covered stool, used in part of the story, and the music centre at the side, comprising a zither, a round drum with bells inside, similar to a tambourine, a small hanging bell, and several singing bowls - which I don't remember being used. You see, he'd brought a musician along - which I think added so much to the atmosphere, as always.
Gilgamesh is an ancient Mesopotamian epic. The oldest known major piece of literature, in fact! So, it concerns the epic adventures of King Gilgamesh, a mighty warrior: and all-round twat. Always spoiling for a fight, always getting into trouble, getting out of it by the skin of his teeth - perhaps with the loss of some innocent people along the way - and then singing his own praises afterwards. I'm not terribly impressed by war stories, frankly. So, as you can imagine, the first half of the performance - which had him and his pal slaying a giant and a bull, both sacred creatures, and performing feats of valour - I wasn't completely sold on. But it was beautifully performed, by both storyteller and musician.
I was much happier with the second half, which had less fighting and much more weirdness. Gilgamesh heads off on a fantastical journey to find his ancestor, who won the gift of eternal life. And when he eventually finds out how he did it - why, it turns out to be a carbon copy of the story of Noah's ark! So, Mesopotamian origins, huh?! Interesting. Anyway, a mesmerising evening of storytelling, with the spine-tingling accompaniment of Jonah Brody. And what a treat to have three storytelling evenings in such a short time! Looking forward to getting back to them next year.
Tomorrow, I've provisionally arranged to meet that old friend I met a while ago - who says yes, probably ok, but things are hectic.. who're you telling?! Well, I'm free most of the evening, so we'll see what happens.
On Wednesday, off to my last circus (and last event) of the year - Crash is at the Winterville Festival on Clapham Common. Tickets from SeeTickets. Sold out now, it seems. Then I'm back to Ireland for Christmas on Thursday.
I fly back on the 2nd, and on the 3rd I'm back with Walking in London for the Southwark Tour - Chronicles: Shakespeare's London. It's Funzing, of course, and I think this was the last I used my Funzing_Fb20 code for, getting a 20% discount. They've now apparently decided it's been used too often, and I'm down to a 10% personal discount.
On the 4th, I'm back at Soho Theatre for a comedy show - Jen Brister, with Meaningless.
The next few days are all Funzing, and the weekend is entirely with Look up London - excellent! She's so friendly, and always finds the most interesting tidbits for us. The 5th, I'm doing Unlock the Secrets of Fleet Street.
On the 6th, I'm doing The Greenwich Walk: Heroes and Villains.
And on the 7th, I'm with London Speaks Sessions, for a talk on Interviews With a Serial Killer. Funzing now have an Unlimited Talks option, where you can get unlimited talks for a month for £11.99 - however, not seeing anything else I fancy coming up that month, I've left it for now. As it is, I got a spectacular loyalty discount for this one!
Thursday, 13 December 2018
Ballet: Matthew Bourne's Swan Lake
Tonight, I was thrilled to be going to Matthew Bourne's Swan Lake, at Sadler's Wells, with Up in the Cheap Seats. He's a fantastic choreographer, but I'd never before gotten around to seeing this version. Sold out for today a while ago.
Happily, with Sadler's Wells, I can walk - and I did, a brisk trot up the hill in the cold. It was actually quite pleasant to walk off last night's excesses. We were to meet in the Second Circle Bar - we were all sat up there. And what good exercise those stairs are! When I reached that level, funnily enough, they were sat at two separate tables, on separate sides - I decided to sit at the less-populated one. :-) Seems they hadn't seen each other at first - anyway, we were a large group tonight and needed some extra space. Not that we ended up meeting everyone, but that's pretty standard, with people changing their minds about coming, or coming late, or whatever.
With a little time to spare, we headed in.
Now seriously, would you call this a restricted-view seat? Yes, that safety rail cuts across a little iddy bit of the stage, but it obstructs nothing. Also, there was no-one directly in front of me, nor could there be - L30, 31, and 32 are at the edge of the row on their own, and right over the entrance door. Oh, and right at the edge as I was, in L32, there was no-one behind me either, so I was free to lean forward on that partition in front of us if I wanted. And I had tons of space for my things in the corner. Yes, seats in this small section are definitely my preferred seating here.. as opposed to the fellow in the front row who found his view severely restricted by the side balcony, or the folks in the middle of the auditorium, who found themselves behind a snuffling schoolboy for the first half (they gave him tissues after the interval, which cleared that right up). Really, I was blessed.
The swan on the screen performs a slow motion flight as the overture plays - a lovely touch. And then we're into the initial court scene. Boy though, this is - in typical Matthew Bourne fashion - very different from the classic version. Gone is stiff and staid court life - well, not completely. But it's brought bang up to date, with the Royal Couple shown visiting various sites, in each of which they pull ropes or unveil statues, and are greeted by cheering crowds behind a rope barrier. He has great fun with this bit, having several different things happen at once, so you hardly know where to look.
The absolute comic joy of most of the show is the blonde bimbo who graces the prince's arm. Oh, she's absolutely perfect, preening and prancing around the stage in an ultra-short outfit. You can easily identify her by these characteristics throughout. The scene where she joins the Royal Family to watch a ballet is just priceless, where she makes all kinds of faux pas - like having her mobile go off during the performance - and answering it!
What a contrast, then, when we meet the (male) swans. Not the delicate, floaty creatures of the classic ballet here. Oh no. These swans quite literally bite. Instead of tutus, they have feathery trousers - and they're quite aggressive, hissing and stamping. So, it seems our Prince falls in love with the lead "white" swan, at the lake, one night..
At the interval, I treated myself to an excellent, if overpriced ice cream - honestly, no reflection whatsoever on the performance, but I could hardly keep my eyes open, last night was such a late one. That seems to have done the trick, and I was much better able to stay awake in the second half. Mind you, there was more action.. a fantastic scene sees the black swan, now in a regular - black - suit, make the most spectacular entrance at a royal party, tiptoeing cautiously along the terrace railing before jumping quite dramatically inside. Where he proceeds to seduce every woman in sight.
Things come to a dramatic head, and our hapless - and jealous - Prince ends up in what looks like a mental institution. Where he has what seems to be a fevered dream, in which the swans come to him. However, the other swans seem to disapprove of their leader's affection for the Prince, finally turning on him in a most dramatic, surreal, visceral, and moving final scene.
I'm an incorrigible fan of Matthew Bourne - far as I'm concerned, he can do no wrong, and this is no exception. It's completely original, it's hilarious, it's moving - with the original score, he's completely reimagined the dance itself. Oh yay! so glad I came. Very highly recommended - runs till the 27th of next month, so you do have time, but booking is highly recommended - most performances are already sold out. The only availability for this month at time of writing is for the matinee this Saturday, or the evening performance on Boxing Day. Next month, all matinees are sold out, and evening performances are available on selected days..
That was probably my last Meetup of the year - more anon. Went out with a bang, though. A cold, but downhill, walk back. This weekend, I'm back to Ireland again. And on Monday, the Crick Crack Club is performing Gilgamesh, at Soho Theatre. With Ben Haggerty in the spotlight, this will be a treat! Sold out, of course - you have to book these things early. Last of the year. He's doing it again on the 10th of February, at the British Museum. Meeting Helen for a meal beforehand, once I get out of my work meeting!
Happily, with Sadler's Wells, I can walk - and I did, a brisk trot up the hill in the cold. It was actually quite pleasant to walk off last night's excesses. We were to meet in the Second Circle Bar - we were all sat up there. And what good exercise those stairs are! When I reached that level, funnily enough, they were sat at two separate tables, on separate sides - I decided to sit at the less-populated one. :-) Seems they hadn't seen each other at first - anyway, we were a large group tonight and needed some extra space. Not that we ended up meeting everyone, but that's pretty standard, with people changing their minds about coming, or coming late, or whatever.
With a little time to spare, we headed in.
Now seriously, would you call this a restricted-view seat? Yes, that safety rail cuts across a little iddy bit of the stage, but it obstructs nothing. Also, there was no-one directly in front of me, nor could there be - L30, 31, and 32 are at the edge of the row on their own, and right over the entrance door. Oh, and right at the edge as I was, in L32, there was no-one behind me either, so I was free to lean forward on that partition in front of us if I wanted. And I had tons of space for my things in the corner. Yes, seats in this small section are definitely my preferred seating here.. as opposed to the fellow in the front row who found his view severely restricted by the side balcony, or the folks in the middle of the auditorium, who found themselves behind a snuffling schoolboy for the first half (they gave him tissues after the interval, which cleared that right up). Really, I was blessed.
The swan on the screen performs a slow motion flight as the overture plays - a lovely touch. And then we're into the initial court scene. Boy though, this is - in typical Matthew Bourne fashion - very different from the classic version. Gone is stiff and staid court life - well, not completely. But it's brought bang up to date, with the Royal Couple shown visiting various sites, in each of which they pull ropes or unveil statues, and are greeted by cheering crowds behind a rope barrier. He has great fun with this bit, having several different things happen at once, so you hardly know where to look.
The absolute comic joy of most of the show is the blonde bimbo who graces the prince's arm. Oh, she's absolutely perfect, preening and prancing around the stage in an ultra-short outfit. You can easily identify her by these characteristics throughout. The scene where she joins the Royal Family to watch a ballet is just priceless, where she makes all kinds of faux pas - like having her mobile go off during the performance - and answering it!
What a contrast, then, when we meet the (male) swans. Not the delicate, floaty creatures of the classic ballet here. Oh no. These swans quite literally bite. Instead of tutus, they have feathery trousers - and they're quite aggressive, hissing and stamping. So, it seems our Prince falls in love with the lead "white" swan, at the lake, one night..
At the interval, I treated myself to an excellent, if overpriced ice cream - honestly, no reflection whatsoever on the performance, but I could hardly keep my eyes open, last night was such a late one. That seems to have done the trick, and I was much better able to stay awake in the second half. Mind you, there was more action.. a fantastic scene sees the black swan, now in a regular - black - suit, make the most spectacular entrance at a royal party, tiptoeing cautiously along the terrace railing before jumping quite dramatically inside. Where he proceeds to seduce every woman in sight.
Things come to a dramatic head, and our hapless - and jealous - Prince ends up in what looks like a mental institution. Where he has what seems to be a fevered dream, in which the swans come to him. However, the other swans seem to disapprove of their leader's affection for the Prince, finally turning on him in a most dramatic, surreal, visceral, and moving final scene.
I'm an incorrigible fan of Matthew Bourne - far as I'm concerned, he can do no wrong, and this is no exception. It's completely original, it's hilarious, it's moving - with the original score, he's completely reimagined the dance itself. Oh yay! so glad I came. Very highly recommended - runs till the 27th of next month, so you do have time, but booking is highly recommended - most performances are already sold out. The only availability for this month at time of writing is for the matinee this Saturday, or the evening performance on Boxing Day. Next month, all matinees are sold out, and evening performances are available on selected days..
That was probably my last Meetup of the year - more anon. Went out with a bang, though. A cold, but downhill, walk back. This weekend, I'm back to Ireland again. And on Monday, the Crick Crack Club is performing Gilgamesh, at Soho Theatre. With Ben Haggerty in the spotlight, this will be a treat! Sold out, of course - you have to book these things early. Last of the year. He's doing it again on the 10th of February, at the British Museum. Meeting Helen for a meal beforehand, once I get out of my work meeting!
Wednesday, 12 December 2018
Restaurant: Cinnamon Tree
Tonight was our office Christmas party, but Let's Do This advertised a Christmas dinner- which sounded a more attractive prospect. So I did that instead. Places filled up quickly with regulars. The boss asked me to drop by if we finished early, and it's not far away, so I decided to do that.
I walked to the Betsey Trotwood, where we were meeting before dinner - I'd have been there faster, if I hadn't paused to give directions to someone who had Google Maps on his phone, but obviously hadn't figured out how to use it. One of the group had found a table by the window, and it turned out to be just inside the door. Not hard to find then, and it's a lovely, cosy pub, with some quirky decor, where we spent a pleasant time before dinner, and the gents were kind enough to buy me drinks.
It was a short, cold walk to the Cinnamon Tree, where we had a booking, and where they had a table for us, right by the bar. The only problem with that, of course, was that, if I wanted to go to the loo, I had to have two people outside me get up! as I had no room on my side. Hey-ho.
Service was quick and friendly, although there was confusion at a couple of points - the wrong beer was brought, and there was an argument about naan, of all things. But all was settled amicably, the beer was replaced, the naan was brought, and we set to it. Honestly, I was in no way adventurous with what I had - it's a while since I had Indian food, and I went for my favourites: meat samosa, butter chicken, peshwari naan. They had two white wines by the glass - I had the non-house white, which was very nice indeed.
We started with poppadums - ooh my, I missed that mango chutney! And I have to say, the samosas were quite the tastiest I've ever had. The butter chicken and the peshwari naan were excellent - apart from the sauce, I cleared my plate, and I think everyone else did too. The food here is to be recommended, and the price is excellent. Careful on the way to the toilets though - those steps down are steep!
Another bitterly cold walk to The Three Kings.
(This was cross the road.) Oh, it was good to get inside out of the cold, where as we grabbed a drink, a table came free in the corner, and we sat and had one for the road, in the convivial company of one of the locals:
In a gathering of ex-members of the Man with the Hat's groups, I guess it was to be expected that he'd come up in conversation - particularly at this time of year, when the fashion is to look back. We all wondered how he's doing..
As we wended our separate ways back, I was in touch with the boss, who said yes, they were still there. Well, it took me about half an hour to get there, and when I did, they were all headed somewhere else. I accompanied them, and we walked and walked - I did get my exercise tonight! We finally fetched up at Barrio Shoreditch, which was so damn noisy that I didn't even stay for one drink. To me, pubs are for conversation - I have never seen the point in a pub so loud that you can't hear yourself think, let alone speak. I ducked out, even though someone else was paying.
I walked to the Betsey Trotwood, where we were meeting before dinner - I'd have been there faster, if I hadn't paused to give directions to someone who had Google Maps on his phone, but obviously hadn't figured out how to use it. One of the group had found a table by the window, and it turned out to be just inside the door. Not hard to find then, and it's a lovely, cosy pub, with some quirky decor, where we spent a pleasant time before dinner, and the gents were kind enough to buy me drinks.
It was a short, cold walk to the Cinnamon Tree, where we had a booking, and where they had a table for us, right by the bar. The only problem with that, of course, was that, if I wanted to go to the loo, I had to have two people outside me get up! as I had no room on my side. Hey-ho.
Service was quick and friendly, although there was confusion at a couple of points - the wrong beer was brought, and there was an argument about naan, of all things. But all was settled amicably, the beer was replaced, the naan was brought, and we set to it. Honestly, I was in no way adventurous with what I had - it's a while since I had Indian food, and I went for my favourites: meat samosa, butter chicken, peshwari naan. They had two white wines by the glass - I had the non-house white, which was very nice indeed.
We started with poppadums - ooh my, I missed that mango chutney! And I have to say, the samosas were quite the tastiest I've ever had. The butter chicken and the peshwari naan were excellent - apart from the sauce, I cleared my plate, and I think everyone else did too. The food here is to be recommended, and the price is excellent. Careful on the way to the toilets though - those steps down are steep!
Another bitterly cold walk to The Three Kings.
(This was cross the road.) Oh, it was good to get inside out of the cold, where as we grabbed a drink, a table came free in the corner, and we sat and had one for the road, in the convivial company of one of the locals:
In a gathering of ex-members of the Man with the Hat's groups, I guess it was to be expected that he'd come up in conversation - particularly at this time of year, when the fashion is to look back. We all wondered how he's doing..
As we wended our separate ways back, I was in touch with the boss, who said yes, they were still there. Well, it took me about half an hour to get there, and when I did, they were all headed somewhere else. I accompanied them, and we walked and walked - I did get my exercise tonight! We finally fetched up at Barrio Shoreditch, which was so damn noisy that I didn't even stay for one drink. To me, pubs are for conversation - I have never seen the point in a pub so loud that you can't hear yourself think, let alone speak. I ducked out, even though someone else was paying.
Tomorrow, I'm thrilled to be going to Matthew Bourne's Swan Lake, at Sadler's Wells, with Up in the Cheap Seats. He's a fantastic choreographer, but I've never before gotten around to seeing this all-male version. Sold out now for that day, I believe. Then I'm back to Ireland for the weekend again.
And on Monday, the Crick Crack Club is performing Gilgamesh, at Soho Theatre. With Ben Haggerty in the spotlight, this will be a treat! Sold out, of course - you have to book these things early. Last of the year. He's doing it again on the 10th of February, at the British Museum. Meeting Helen for a meal beforehand.
Tuesday, 11 December 2018
Storytelling: The House of Nine Lives
Tonight, I was going with North London Friends to The Convert, at the Young Vic. Discounted top-price seats, it seems! And then, the Crick Crack Club sent around an advertising email - and damnit if they didn't arrange a meeting tonight! The House of Nine Lives was at the British Library, and had Nell Phoenix, Tim Ralphs, and TUUP talking about pussycats. Irresistible. Just got word the other night that my ticket for the play was sold on, and I duly got a refund (less Paypal fees) - good stuff.
I have a ton of stuff to do - as usual. So I left a little later than intended. I could take two buses - one came early and I just missed it, and the other was delayed. Afraid I'd be late, I gave up and headed for the Tube. Oh dear Lord, it was like an evacuation at Old Street Station.. constant announcements explained to the sea of people that entry was being restricted because of overcrowding on the platforms. Well, but we were shuffling slowly forwards.. and happily, I got to the platform at the same time as a train, and even managed to squeeze onto it! It was only two stops, and squeezing off again was harder..
I was delighted with how quickly we got to King's Cross - I'd never have managed that speed on the bus, in rush hour traffic. Love walking around here - we had the usual crazy preacher, this one jiggling his way along, clad in multiple, rattling, silver chains, yelling about the dangers of alcohol. Mind you, I had several roads to cross - but the traffic gods were with me, and I mostly got green crossing signals. At the library, I was glad I knew where I was going - after a cursory bag check, I had to think, but vaguely remembered I'd have to go upstairs. Sure enough, up there was a sign for Crick Crack (at last!), and an usher at the door who checked my ticket and reassured me that I still had.. I finished the sentence for her. "No time at all!" As I passed through the door, I passed Martin Shaw - again! What, is he now taking a second job as a doorman?
The place was about half full - I took a seat at the back of the crowd, sweat pouring down me from the fast walk. I didn't have long to wait - Ben Haggerty was MC again, and as he introduced the others, the audience broke into - miaouwing. Yes, we had a lively crowd tonight. Tim Ralphs indulged them, encouraging them to express themselves in true feline manner.
They took turns, over the next 90 minutes, and I'd be hard pressed to pick a favourite. Nell started off - and did a fantastic turn of depicting the personalities of different animals; she has a genius for that, from the cowardly bear to the timid hare. Her opening tale was a variation on Puss in Boots. TUUP, as usual, gently banged and rattled things in the background - he's keen on music. It was a delight when he stood at the mic, thumbing an mbira, and they finally remembered to turn the lights down! And he had great fun, getting us to sing along in his tale of the woman that wanted to take the tiger's whisker.
His tales, as ever, were African - the best story of the night, I thought, was his tale of the cat and dog that lived next door to each other. One day, the humans were not at home, and the dog snuck over to the cat's house, and wiggled his way in to where the cat was relaxing with her kittens. So he started barking and snarling. Whereupon the cat sat up on her haunches, and barked and snarled right back at him! Well, he slunk right back home and into his bed, whimpering. Back at the cat's house, she turned to the kittens and said, "You see now, children, the importance of speaking a second language!"
Nell, however, had the last word, with a fantastic story from Egyptian mythology - the story of the lioness goddess, Sekhmet, from whom sprang Hathor, a gentler, life-giving deity. With TUUP providing gentle percussion in the background throughout, this was a truly mesmerising performance. And I feel so lucky to have been to two storytelling events in such a short space of time!
As someone near me remarked, they finished the piped music a bit abruptly on the way out. I caught the bus back. Mind you, it was diverted, but I wasn't in much of a hurry.
I have a ton of stuff to do - as usual. So I left a little later than intended. I could take two buses - one came early and I just missed it, and the other was delayed. Afraid I'd be late, I gave up and headed for the Tube. Oh dear Lord, it was like an evacuation at Old Street Station.. constant announcements explained to the sea of people that entry was being restricted because of overcrowding on the platforms. Well, but we were shuffling slowly forwards.. and happily, I got to the platform at the same time as a train, and even managed to squeeze onto it! It was only two stops, and squeezing off again was harder..
I was delighted with how quickly we got to King's Cross - I'd never have managed that speed on the bus, in rush hour traffic. Love walking around here - we had the usual crazy preacher, this one jiggling his way along, clad in multiple, rattling, silver chains, yelling about the dangers of alcohol. Mind you, I had several roads to cross - but the traffic gods were with me, and I mostly got green crossing signals. At the library, I was glad I knew where I was going - after a cursory bag check, I had to think, but vaguely remembered I'd have to go upstairs. Sure enough, up there was a sign for Crick Crack (at last!), and an usher at the door who checked my ticket and reassured me that I still had.. I finished the sentence for her. "No time at all!" As I passed through the door, I passed Martin Shaw - again! What, is he now taking a second job as a doorman?
The place was about half full - I took a seat at the back of the crowd, sweat pouring down me from the fast walk. I didn't have long to wait - Ben Haggerty was MC again, and as he introduced the others, the audience broke into - miaouwing. Yes, we had a lively crowd tonight. Tim Ralphs indulged them, encouraging them to express themselves in true feline manner.
They took turns, over the next 90 minutes, and I'd be hard pressed to pick a favourite. Nell started off - and did a fantastic turn of depicting the personalities of different animals; she has a genius for that, from the cowardly bear to the timid hare. Her opening tale was a variation on Puss in Boots. TUUP, as usual, gently banged and rattled things in the background - he's keen on music. It was a delight when he stood at the mic, thumbing an mbira, and they finally remembered to turn the lights down! And he had great fun, getting us to sing along in his tale of the woman that wanted to take the tiger's whisker.
His tales, as ever, were African - the best story of the night, I thought, was his tale of the cat and dog that lived next door to each other. One day, the humans were not at home, and the dog snuck over to the cat's house, and wiggled his way in to where the cat was relaxing with her kittens. So he started barking and snarling. Whereupon the cat sat up on her haunches, and barked and snarled right back at him! Well, he slunk right back home and into his bed, whimpering. Back at the cat's house, she turned to the kittens and said, "You see now, children, the importance of speaking a second language!"
Nell, however, had the last word, with a fantastic story from Egyptian mythology - the story of the lioness goddess, Sekhmet, from whom sprang Hathor, a gentler, life-giving deity. With TUUP providing gentle percussion in the background throughout, this was a truly mesmerising performance. And I feel so lucky to have been to two storytelling events in such a short space of time!
As someone near me remarked, they finished the piped music a bit abruptly on the way out. I caught the bus back. Mind you, it was diverted, but I wasn't in much of a hurry.
Tomorrow is our office Christmas party, but Let's Do This has advertised a Christmas dinner- which sounds a more attractive prospect. So I'm doing that instead. Places filled up quickly with regulars. The boss has asked me to drop by if we finish early, and it's not far away, so I'll try to do that.
On Thursday, I'm thrilled to be going to Matthew Bourne's Swan Lake, at Sadler's Wells, with Up in the Cheap Seats. He's a fantastic choreographer, but I've never before gotten around to seeing this all-male version. Sold out now for that day, I believe. Then I'm back to Ireland for the weekend again.
And on Monday, the Crick Crack Club is performing Gilgamesh, at Soho Theatre. With Ben Haggerty in the spotlight, this will be a treat! Sold out, of course - you have to book these things early. He's doing it again on the 10th of February, at the British Museum. Meeting Helen for a meal beforehand.
Monday, 10 December 2018
Play: A Very, Very, Very Dark Matter
Tonight, I was off to the Bridge Theatre for A Very, Very, Very Dark Matter, by Martin McDonagh. Starring Jim Broadbent, this is a dark take on Hans Christian Anderson (whom he plays)! Our new starter saw it recently, and proclaimed it "weird". Well, weird is good. North London Friends were going as well - but they were sat down in the stalls. I hoped to get to chat a bit with them - they're a lovely group, and I don't meet them enough.
I did let them know I was going - but as they didn't include me in the mailing list for their social arrangements, I decided not to intrude. Certainly, I had enough to be doing at the office. Caught the bus before the one I needed to, to make it in time for the show, and wouldn't you know it, my second bus was at the stop when we got there! It wouldn't have waited, except they were changing drivers. So I got there just as the bell rang for people to go in - perfect!
I did let them know I was going - but as they didn't include me in the mailing list for their social arrangements, I decided not to intrude. Certainly, I had enough to be doing at the office. Caught the bus before the one I needed to, to make it in time for the show, and wouldn't you know it, my second bus was at the stop when we got there! It wouldn't have waited, except they were changing drivers. So I got there just as the bell rang for people to go in - perfect!
I was in the highest level, and just at the corner..
Now, as it happened, there were very few people around me - indeed, almost my entire section was empty - and since, as you can see, the balcony obscured what turned out to be an annoying amount of the stage, I soon moved a bit to my left. For reference, I started in A21, and moved to A23 - it has a much more direct view. Which is why it costs £35, as opposed to the £15 I paid. I'd possibly have been better off in the row behind, with the balcony less in my line of sight.
This is as cockamamy a tale as anything that Hans Christian Anderson ever concocted. I loved the staging - it starts out very creepily, a wooden box swinging slowly from side to side, creepy music playing, as a deep voice growls out something about being trapped in a box.. this turns out to be Hans Christian Anderson's attic. And when the plot moves to other locales, a panel with appropriate decor drops in front of the attic, and people ascend from a trapdoor to the front of the stage. Mainly sat around a table - at the start, however, we get Hans Christian Anderson on a podium, giving a speech. Beautifully done.
I'm afraid that's all I really liked about it. With gratuitous foul language (and I'm no prude!), this is definitely not one for the kids. The story - without giving too much away - concerns the Congolese pygmy woman that inhabits that box, for some unknown reason, and is the real author of his stories. He cut off her foot at some point, to sell to Chinese travellers in exchange for a haunted concertina. (It isn't really haunted, but does prove useful later on.) The action takes off when he accepts an invitation to visit Charles Dickens (whom he persists in calling Charles Darwin) in London. Oh, and there's a couple of blood-soaked brothers, who turn out to be Belgian. You don't want to know what they're doing there.
It repeatedly occurred to me that Martin McDonagh must have been roaring drunk when he wrote this. A lesser known playwright wouldn't have got away with it. As I say, I loved the staging and the atmosphere - but honestly, the play itself is dreadful. No wonder both people I previously asked opinions of got all cagey. The only other good thing I can say about it is, with no interval, it's over nice and early. Runs till the 6th. And the bus I took back dropped me near Liverpool Street, so I now know a few more of the backstreets around there! The night wasn't a complete loss, then.
Tomorrow, I was going with North London Friends to The Convert, at the Young Vic. Discounted top-price seats, it seems! And then, the Crick Crack Club sent around an advertising email - and damnit if they haven't arranged a meeting that night! The House of Nine Lives is at the British Library, and has Nell Phoenix, Tim Ralphs, and TUUP talking about pussycats. Irresistible. Just got word the other night that my ticket for the play has been sold on, and I duly got a refund (less Paypal fees) - good stuff.
Now, as it happened, there were very few people around me - indeed, almost my entire section was empty - and since, as you can see, the balcony obscured what turned out to be an annoying amount of the stage, I soon moved a bit to my left. For reference, I started in A21, and moved to A23 - it has a much more direct view. Which is why it costs £35, as opposed to the £15 I paid. I'd possibly have been better off in the row behind, with the balcony less in my line of sight.
This is as cockamamy a tale as anything that Hans Christian Anderson ever concocted. I loved the staging - it starts out very creepily, a wooden box swinging slowly from side to side, creepy music playing, as a deep voice growls out something about being trapped in a box.. this turns out to be Hans Christian Anderson's attic. And when the plot moves to other locales, a panel with appropriate decor drops in front of the attic, and people ascend from a trapdoor to the front of the stage. Mainly sat around a table - at the start, however, we get Hans Christian Anderson on a podium, giving a speech. Beautifully done.
I'm afraid that's all I really liked about it. With gratuitous foul language (and I'm no prude!), this is definitely not one for the kids. The story - without giving too much away - concerns the Congolese pygmy woman that inhabits that box, for some unknown reason, and is the real author of his stories. He cut off her foot at some point, to sell to Chinese travellers in exchange for a haunted concertina. (It isn't really haunted, but does prove useful later on.) The action takes off when he accepts an invitation to visit Charles Dickens (whom he persists in calling Charles Darwin) in London. Oh, and there's a couple of blood-soaked brothers, who turn out to be Belgian. You don't want to know what they're doing there.
It repeatedly occurred to me that Martin McDonagh must have been roaring drunk when he wrote this. A lesser known playwright wouldn't have got away with it. As I say, I loved the staging and the atmosphere - but honestly, the play itself is dreadful. No wonder both people I previously asked opinions of got all cagey. The only other good thing I can say about it is, with no interval, it's over nice and early. Runs till the 6th. And the bus I took back dropped me near Liverpool Street, so I now know a few more of the backstreets around there! The night wasn't a complete loss, then.
Tomorrow, I was going with North London Friends to The Convert, at the Young Vic. Discounted top-price seats, it seems! And then, the Crick Crack Club sent around an advertising email - and damnit if they haven't arranged a meeting that night! The House of Nine Lives is at the British Library, and has Nell Phoenix, Tim Ralphs, and TUUP talking about pussycats. Irresistible. Just got word the other night that my ticket for the play has been sold on, and I duly got a refund (less Paypal fees) - good stuff.
Wednesday is our office Christmas party, but Let's Do This has advertised a Christmas dinner- which sounds a more attractive prospect. So I'm doing that instead. Places filled up quickly with regulars. The boss has asked me to drop by if we finish early, and it's not far away, so I'll try to do that.
On Thursday, I'm thrilled to be going to Matthew Bourne's Swan Lake, at Sadler's Wells, with Up in the Cheap Seats. He's a fantastic choreographer, but I've never before gotten around to seeing this all-male version. Sold out now for that day, I believe. Then I'm back to Ireland for the weekend again.
And on the 17th, the Crick Crack Club is performing Gilgamesh, at Soho Theatre. With Ben Haggerty in the spotlight, this will be a treat! Sold out, of course - you have to book these things early. He's doing it again on the 10th of February, at the British Museum. Meeting Helen for a meal beforehand.
Sunday, 9 December 2018
Storytelling: I Know Not
Today, the Crick Crack Club was back at the British Museum for I Know Not, a full afternoon of Sufi legend. I certainly made sure to set off in good time - the British Museum is a nightmare, with its security queue: especially at weekends. Well, I could take either bus from the local stop - the 243 was the first to come, but although the 55 would have taken me closer, it wasn't due for so long that I decided to go with what I had.
Anyway, they just checked my name off the list, as usual, and I dashed in. Martin Shaw, on door duty as ever, said "Welcome". And I was just in time for Ben Haggerty's opening spiel.
I do actually love this room - it's almost worth the wait to get in. Dark and peaceful, with a constant low hum from the aircon, for storytelling they have artificial, flickering candles along the stairs. And with the comfy leather seats you can just sink into, you can drift away - it's a lovely way to spend a Sunday afternoon.
I haven't come cross this storyteller - Chirine El Ansary - before. I think she usually performs in French - and sure enough, her soft voice and French intonations lulled me, at least, into a sleepy state. In two halves, her performance consisted of back-to-back, quite short, stories - not interweaving, as I'm used to from this format. As the ladies behind me remarked at the interval, she could certainly hold the audience, soft-spoken as she is. After Ben Haggerty summoned the crowd back with the ram's horn, the second half was a bit livelier, a bit more comedic. Most enjoyable - my only criticism would be the way she moved from one story to the next so rapidly - it was often hard to absorb the message of the first story, while trying to listen to the second.
On the way back, the stop for the 55 was closer, but I was to be glad I walked on further, to one where I could catch both - there was no sign of a 55! Tomorrow, I'm off to the Bridge Theatre for A Very, Very, Very Dark Matter, by Martin McDonagh. Starring Jim Broadbent, this is a dark take on Hans Christian Anderson! Our new starter saw it recently, and proclaimed it "weird". Well, weird is good. North London Friends are going as well - but they'll be sat down in the stalls. I hope I get to chat a bit with them - they're a lovely group, and I don't meet them enough.
On Tuesday, I was going with them to The Convert, at the Young Vic. Discounted top-price seats, it seems! And then, the Crick Crack Club sent around an advertising email - and damnit if they haven't arranged a meeting that night! The House of Nine Lives is at the British Library, and has Nell Phoenix, Tim Ralphs, and TUUP talking about pussycats. Irresistible. Just got word the other night that my ticket for the play has been sold on, so I'll get a refund - good stuff.
Wednesday is our office Christmas party, but Let's Do This has advertised a Christmas dinner- which sounds a more attractive prospect. So I'm doing that instead. Places filled up quickly with regulars. The boss has asked me to drop by if we finish early, and it's not far away, so I'll try to do that.
On Thursday, I'm thrilled to be going to Matthew Bourne's Swan Lake, at Sadler's Wells, with Up in the Cheap Seats. He's a fantastic choreographer, but I've never before gotten around to seeing this all-male version. Sold out now for that day, I believe. Then I'm back to Ireland for the weekend again.
And on the 17th, the Crick Crack Club is performing Gilgamesh, at Soho Theatre. With Ben Haggerty in the spotlight, this will be a treat! Sold out, of course - you have to book these things early. I do believe he's doing it again in February, but I don't know where. Meeting Helen for a meal beforehand.
Saturday, 8 December 2018
Play: The Double Dealer
Tonight, with Up in the Cheap Seats (UITCS) again at the Orange Tree Theatre for The Double Dealer. Yet another trip to the far side of town! Well, it was an evening performance, so I could lie in. And lie in I did, still taking myself off in good time. The unpredicted rain had given way to gales at that stage, but I fought my way to the stop, and it was much better on the bus - although the wind did somewhat take us as we crossed the bridge. Waterloo Station itself was full of Santas - not all of them sober! With heavy traffic, I'd missed the express train - but hey, that would've got me there too early anyway, and I was happy with the stopping service, which delivered me just slightly after the time arranged for us to meet.
A pretty interactive show followed, preceded by audience members trotting about, introducing themselves to the audience and engaging them in conversation. Those props in the middle of the floor couldn't stay there - the shoes were donned by one of the characters, the banner erected with the help of audience members. I do believe the picture also shows the chaise longue, which someone must have wheeled out as I was watching the banner go up.
Yes, they were in period costume - what a lovely change! One of the actresses played two parts, and wore an over jacket and overskirt for one, removing the outer layer to play the other. So, we had high, stiff lace headdresses, pearl necklaces, bracelets and earrings, laced corsets, flouncy cuffs, long skirts. For the men, 17th century jackets (for that's when this was written), one tricorn hat, shoes with brightly coloured ribbons for laces - the ladies wore historical-type shoes, the gents didn't bother. Oh, and there was a lot of clothing made of what I would describe as curtain fabric - very ornate, very thick and heavy. As someone later remarked, the ladies' costumes were missing a lot - they'd hardly have had room, in that small space and with all that running about, for hoops! Eh, close enough.
I had a lovely, wide seat - good for leaving my coat on. I was to discover that it was also good for actors to sit on! Well, I hope he found my coat comfortable. I wouldn't begrudge him a sit-down - as I say, they were energetic to the point of hyperactivity. This is one of those mad, Restoration comedies, featuring lots of toffs, a young couple about to get hitched, a dastardly cad, and a lot of idiots of greater or lesser degree. As they explain at the start, the plot isn't really central to the enjoyment of this, and they're right - if you can keep up with the quips and the archaic language, you're doing just fine. Oh, and if you are sitting in the front row (it's in the round), mind where you put your feet - they enter and exit from all four corners, usually quite unpredictably. Also, if you're in the front row, expect mild interactivity - conversational, hand-holding. That kind of thing.
I thought it was great fun - but to be fair, it wasn't everyone's cup of tea, and there were a fair few empty seats after the interval. Still, if you like Restoration comedy, this should be right up your alley - runs till the 26th of next month, limited availability on some performances, and Tuesday is sold out. On the way back, I took the Tube, which Google Maps informed me would now take less than an hour. It didn't - but was much cheaper, at £2.80 for the whole journey, versus £4.50 for bus and train, outbound. I did have the fun experience of sharing a carriage, first with a family and friends out on a pre-Christmas excursion, then - after they disembarked - a whole gang of drunken young people. Everybody's celebrating Christmas with a vengeance.. and with all my weekends away lately, I'd forgotten what central London is like at the weekends!
Tomorrow, the Crick Crack Club is back at the British Museum for I Know Not, a full afternoon of Sufi legend.
On Monday, I'm off to the Bridge Theatre for A Very, Very, Very Dark Matter, by Martin McDonagh. Starring Jim Broadbent, this is a dark take on Hans Christian Anderson! Our new starter saw it recently, and proclaimed it "weird". Well, weird is good. North London Friends are going as well - but they'll be sat down in the stalls. I hope I get to chat a bit with them - they're a lovely group, and I don't meet them enough.
On Tuesday, I was going with them to The Convert, at the Young Vic. Discounted top-price seats, it seems! And then, the Crick Crack Club sent around an advertising email - and damnit if they haven't arranged a meeting that night! The House of Nine Lives is at the British Library, and has Nell Phoenix, Tim Ralphs, and TUUP talking about pussycats. Irresistible. Just got word the other night that my ticket for the play has been sold on, so I'll get a refund - good stuff.
Wednesday is our office Christmas party, but Let's Do This has advertised a Christmas dinner- which sounds a more attractive prospect. So I'm doing that instead. Places filled up quickly with regulars. The boss has asked me to drop by if we finish early, and it's not far away, so I'll try to do that.
On Thursday, I'm thrilled to be going to Matthew Bourne's Swan Lake, at Sadler's Wells, with UITCS. He's a fantastic choreographer, but I've never before gotten around to seeing this all-male version. Then I'm back to Ireland for the weekend again.
And on the 17th, the Crick Crack Club is performing Gilgamesh, at Soho Theatre. With Ben Haggerty in the spotlight, this will be a treat! Sold out, of course - you have to book these things early. Meeting Helen for a meal beforehand.
Friday, 7 December 2018
Play: The Cane
Tonight, back with Up in the Cheap Seats (UITCS) - my first Meetup of the week - at the Royal Court, for The Cane. Got the very last ticket, phew! although it seems at least one person did manage it after me.
With it so far out again, Tube was the only realistic option. Left in reasonable time - even at that, I was the last person to leave the office! Late Friday evenings are not popular. Same experience as before with the Tube, minus the intimidating youths - stuffy, overcrowded Northern Line and spacious, relaxed District Line and a seat. And of course, Sloane Square Tube station is right next door to the Royal Court - while I was in the theatre lobby, I even picked up WiFi from the Caffe Nero in the station!
I picked up my ticket, and was just playing with the WiFi when a couple of the group came across me, having come up from the downstairs bar, where they had found another group, but not ours. Our official organiser hadn't been able to make it, in the end, and our temporary leader had said she'd meet people outside. Perhaps not the best decision, on such a windy day - we let her know we were there, and she bravely went back outside so the newbie could find her. The newbie never came, BTW, messaging her after the show. Better late than never, I guess - pity she had to get so windswept while waiting, though!
At least three of us were in the balcony - and I must say, I found it fine! The same comfy leather seats as throughout the theatre, and I was at the end of a row, which helps with the legroom. Yes, my view was slightly restricted - but with only three actors in this, and hardly any props, I wasn't missing much - and funnily enough, because of the positioning of the stairs, the end seat of the back row, where I was, is more central than the end seats of the rows in front. So I wasn't tempted to move, although there were some empty seats, as it happened, and a couple in the row in front of me moved to the next row down. There's also a handy safety rail, which you can lean on for comfort, if the mood strikes.
Nearly two hours long, this production has no interval. To be fair, I didn't find it too long.. we did have an unscheduled break around the middle, when the stage let them down! Or rather, it didn't let itself down.. the stage takes the form of a living room with what it occurred to me was quite a high ceiling - turns out that, eventually, the attic literally descends, so that they can climb up there. Unfortunately, the mechanism seemed to stick, so they were left for rather a long time, staring into space as ominous music played, before someone with headphones came out and apologised, saying there'd be a short delay..
The play concerns a schoolteacher - deputy head, in fact (Alun Armstrong) - on the brink of retirement, his wife (Maggie Steed), and their estranged daughter (Nicola Walker), who's unexpectedly come to visit. As she discovers, the house is under siege by irate students. The suggestion seems to be that they have discovered that dad used to cane students (back when it was legal). As the play progresses, control shifts from one character to another, as they discuss the past, the implications for his upcoming leaving do, and what all this means for the future of the school.
The acting is great, the staging nice and simple (apart from the movable ceiling!). It's intense, and the straight-through running time leaves plenty of time afterwards for whatever else you might want to do - such as discussing the themes raised by the play. For instance, the question of how much blame is attributable to him, whether he should apologise for what he did, and the difference between his method of discipline and that of his daughter, who's some kind of schools inspector, involved with turning them into academies. Mind you, she is involved with some extreme-sounding academies, where they're not allowed to look away, turn their backs, or speak, without permission..
I enjoyed it. However, it is a bit all over the place - it can't seem to pin down a definite position. The father - is he a bully, or just a product of the system? The mother - is she controlling, or just slightly batty and barely holding it together? The daughter is the oddest of all, turning from a straight-laced administrator to some sort of anarchist rebel, without any obvious trigger. She's apparently mad at them for something unspecified, but it never does come to light. It may or may not have something to do with the axe under the stairs (!). Reminds me of Chekhov's Gun - just with an axe. In other words, if you're going to mention something, there should be a reason behind it! Jeez..
With it so far out again, Tube was the only realistic option. Left in reasonable time - even at that, I was the last person to leave the office! Late Friday evenings are not popular. Same experience as before with the Tube, minus the intimidating youths - stuffy, overcrowded Northern Line and spacious, relaxed District Line and a seat. And of course, Sloane Square Tube station is right next door to the Royal Court - while I was in the theatre lobby, I even picked up WiFi from the Caffe Nero in the station!
I picked up my ticket, and was just playing with the WiFi when a couple of the group came across me, having come up from the downstairs bar, where they had found another group, but not ours. Our official organiser hadn't been able to make it, in the end, and our temporary leader had said she'd meet people outside. Perhaps not the best decision, on such a windy day - we let her know we were there, and she bravely went back outside so the newbie could find her. The newbie never came, BTW, messaging her after the show. Better late than never, I guess - pity she had to get so windswept while waiting, though!
At least three of us were in the balcony - and I must say, I found it fine! The same comfy leather seats as throughout the theatre, and I was at the end of a row, which helps with the legroom. Yes, my view was slightly restricted - but with only three actors in this, and hardly any props, I wasn't missing much - and funnily enough, because of the positioning of the stairs, the end seat of the back row, where I was, is more central than the end seats of the rows in front. So I wasn't tempted to move, although there were some empty seats, as it happened, and a couple in the row in front of me moved to the next row down. There's also a handy safety rail, which you can lean on for comfort, if the mood strikes.
Nearly two hours long, this production has no interval. To be fair, I didn't find it too long.. we did have an unscheduled break around the middle, when the stage let them down! Or rather, it didn't let itself down.. the stage takes the form of a living room with what it occurred to me was quite a high ceiling - turns out that, eventually, the attic literally descends, so that they can climb up there. Unfortunately, the mechanism seemed to stick, so they were left for rather a long time, staring into space as ominous music played, before someone with headphones came out and apologised, saying there'd be a short delay..
The play concerns a schoolteacher - deputy head, in fact (Alun Armstrong) - on the brink of retirement, his wife (Maggie Steed), and their estranged daughter (Nicola Walker), who's unexpectedly come to visit. As she discovers, the house is under siege by irate students. The suggestion seems to be that they have discovered that dad used to cane students (back when it was legal). As the play progresses, control shifts from one character to another, as they discuss the past, the implications for his upcoming leaving do, and what all this means for the future of the school.
The acting is great, the staging nice and simple (apart from the movable ceiling!). It's intense, and the straight-through running time leaves plenty of time afterwards for whatever else you might want to do - such as discussing the themes raised by the play. For instance, the question of how much blame is attributable to him, whether he should apologise for what he did, and the difference between his method of discipline and that of his daughter, who's some kind of schools inspector, involved with turning them into academies. Mind you, she is involved with some extreme-sounding academies, where they're not allowed to look away, turn their backs, or speak, without permission..
I enjoyed it. However, it is a bit all over the place - it can't seem to pin down a definite position. The father - is he a bully, or just a product of the system? The mother - is she controlling, or just slightly batty and barely holding it together? The daughter is the oddest of all, turning from a straight-laced administrator to some sort of anarchist rebel, without any obvious trigger. She's apparently mad at them for something unspecified, but it never does come to light. It may or may not have something to do with the axe under the stairs (!). Reminds me of Chekhov's Gun - just with an axe. In other words, if you're going to mention something, there should be a reason behind it! Jeez..
Anyway, as I say, it is enjoyable. Runs till the 26th of next month - booking recommended. But the best part of tonight was catching up with everyone in the bar afterwards - where even the barman wanted to know what we thought! The place was also full of school groups. Well hey, we got ourselves a table and had a good chat.
Tomorrow, with this group again at the Orange Tree Theatre for The Double Dealer. None of the same people, though - but yet another trip to the far side of town! Well, it's an evening performance, so I can lie in.
On Sunday, the Crick Crack Club is back at the British Museum for I Know Not, a full afternoon of Sufi legend.
On Monday, I'm off to the Bridge Theatre for A Very, Very, Very Dark Matter, by Martin McDonagh. Starring Jim Broadbent, this is a dark take on Hans Christian Anderson! Our new starter saw it recently, and proclaimed it "weird". Well, weird is good. North London Friends are going as well - but they'll be sat down in the stalls. I hope I get to chat a bit with them - they're a lovely group, and I don't meet them enough.
On Tuesday, I was going with them to The Convert, at the Young Vic. Discounted top-price seats, it seems! And then, the Crick Crack Club sent around an advertising email - and damnit if they haven't arranged a meeting that night! The House of Nine Lives is at the British Library, and has Nell Phoenix, Tim Ralphs, and TUUP talking about pussycats. Irresistible. Just got word the other night that my ticket for the play has been sold on, so I'll get a refund - good stuff.
Wednesday is our office Christmas party, but Let's Do This has advertised a Christmas dinner- which sounds a more attractive prospect. So I'm doing that instead. Places filled up quickly with regulars. The boss has asked me to drop by if we finish early, and it's not far away, so I'll try to do that.
On Thursday, I'm thrilled to be going to Matthew Bourne's Swan Lake, at Sadler's Wells, with UITCS. He's a fantastic choreographer, but I've never before gotten around to seeing this all-male version. A couple of tonight's attendees are also booked for that. Then I'm back to Ireland for the weekend again.
And on the 17th, the Crick Crack Club is performing Gilgamesh, at Soho Theatre. With Ben Haggerty in the spotlight, this will be a treat! Sold out, of course - you have to book these things early. Meeting Helen for a meal beforehand.
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