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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