After a hectic week, I spent most of the day asleep - which was most satisfying. I felt much better by evening. Just missed my bus.. very frustrating, but the next wasn't far behind, and dropped me just near the corner of Almeida Street, just a little late. The restaurant, conveniently, is right across the road from the theatre - and I was nearly the first to arrive. Wow, the guy that was there first is someone I hadn't seen for years - and I met his wife tonight for the first time. The organiser wasn't as late as she often has been, lately; it's not always easy to get away. There were six of us in all for dinner.
They have an Evening Standard offer - we had to ask for the menu specially, mind. For starters, half had the cuttlefish with inky mayo - and proclaimed it wonderful. Two had the chicken salad, and proclaimed it lovely. I seemed less fortunate, with meatballs - which were ok - in an indifferent sauce, accompanied by rather cold mash. For main course, I fancied something uncomplicated, so had a pizza margherita, which was quite good. Those who had the penne arrabiata proclaimed it really spicy, but everybody seemed well fed. Two of us had the chocolate cake for dessert - and I'm sorry, it was not "spectacular!", as described by my companion! I give it a 6 - but then, I'm a connoisseur. I skipped the complementary glass of house wine that came with the offer, and instead shared a bottle of something Sicilian with one of my companions - now, that was good.. Not the best Italian I've been to, but it was convenient.
We moseyed over just in time to take our seats - the organiser had gone over in advance, having tickets to distribute to a few people who hadn't come for dinner. Despite me buying my ticket separately, I wasn't that far away from the others.. and despite my seat being described as "restricted view", it was just a pillar: and I could lean around that! With the seats at an angle to the side, I had no-one in front of me (although I was surprised to learn that C1 isn't the end of the row, there's actually a C0!) - legroom was not a problem.
Juliet Stevenson plays the director of an Alzheimer's clinic - one day, she takes the decision to admit a teenage girl with sepsis, which turns out to be the result of a DIY abortion that went wrong. The girls' parents are uncontactable - she's at death's door, and not much can be done. However, the meat of the play concerns the Catholic priest that she won't allow admittance to give the girl the last rites - she argues that it would just distress her, and since she's underage, the doctor must act in locus parenti and, since the girl hasn't asked for a priest, she can't admit him. The priest is frantic, and a fracas ensues, in the middle of which the girl dies. This is far from the end of the story.
Some of the ensuing controversy is to be expected - the parents are livid at the doctor, believing their daughter died in a state of mortal sin, denied the hope of salvation offered by the priest. The committee in charge of the institute starts to cover their asses, worried about the political fallout - she can't expect much support there, as they're scrabbling for funding for a new building. The whole thing comes to a head at a tv panel discussion show, where she is faced with five panellists, each with a different accusation for her - and you should hear what they come out with! Oh my..
Now, nobody comes out of this squeaky clean. Well, maybe the priest - I quite liked him. By and large though, everybody does something, at some point in the play, that they should be ashamed of. As for Juliet Stevenson's character? I started out thinking that this was a typical example of doctors' arrogance - the girl was conscious when the priest arrived, she could have been asked whether she wanted to let the priest in. If that had been a priority for the doctor - which it patently wasn't. My word though, she suffers a true witch's trial! What she goes through is quite excessive - and dealing, as it does, with several common themes of today, it raises many questions about them all, and about what we do with people who think differently from us..
And that is the best thing you can say about a play - that it inspires debate. I think this is a valuable reflection on several aspects of modern society. Two things I didn't like about it:
- The drummer who plays on the elevated platform.. NEVER SEEMS TO STOP! Through the entire play, he's playing an ominous undertone, just to remind us to feel tense. I hate background music that's overdone - and then he drawls on, right through the interval.
- There's a lot of gender- and race-switching through the play. I have nothing against it in principle, but there has to be a limit.. it's quite jarring when the doctor turns to the junior doctor who's been working under her for the whole play, who's played by a woman, and has just said something, and remarks, "That's a typical thing for a man to say." Worst of all though has to be when the PR consultant for the institute remarks that this controversy over the priest being denied admission, and the accusation that the doctor shoved him away, is all made worse by the fact that he's - eh - BLACK! The audience gave a murmur at that one - we'd been looking right at him, and I can't say we noticed! (Paul Higgins is the name, if you want to check for yourself!) For such a major plot point, they'd have made life much easier for the audience by casting a black actor. People don't like being surprised like that so late on.
Having said all that, it is well-written, and beautifully acted. I did also like the staging device of slowly swivelling the stage so that we "get to see things from all sides". So my quibbles stand, but this is still worth seeing, and a real conversation-starter. Runs till the 28th of next month.
Afterwards, some of us hung on in the bar for a nightcap - and had a nice chat, although it was a bit stuffy. And one of the group was good enough to run me home again! Honestly, that's not why I stayed on.. but it was lovely to see them all.
Tomorrow, have to be up a bit earlier - I'm going with Civilised London to the Cartoon Museum - with optional dim sum afterwards. Yes please! I seem to be the only taker - never mind, it's happened before!
On Monday, I'm finally going to see Evita, at Regent's Park Open Air Theatre. Never have seen it. Showers promised.. bah.
On Tuesday, with the London European Club at the Globe - we're going to risk The Comedy of Errors.
On Wednesday, I'm seeing Showtune - an evening of Jerry Herman music - at the Union Theatre.
On Thursday, I'm looking at a film - it's looking like Apollo 11, a documentary about the first moon landing. About time I saw it - it's been out a while. Closest place it's showing at a reasonable time is at the BFI - not selling out yet, but I'll keep an eye on it.
I'm back in Ireland for the bank holiday weekend - Ryanair strike permitting! Depends on what nationality our pilot is - and whether they voted to strike..
On the 27th, The Embers Collective is back - at Dalston Eastern Curve Garden this time. There'll be storytelling, there'll be music - and hopefully food. And we're making that the occasion of this month's social from my last company! Be great to see everyone again. And at least I don't have to depend on the Tube this time - unlike last Thursday!
On the 28th, London Science Events is off to a Science Museum Late.
And on the 29th and 30th, finally back with Up in the Cheap Seats - first time in three weeks! On the 29th, it's HMS Pinafore at Wilton's.
And on the 30th, we're at Treemonisha, by Scott Joplin, at the Arcola. Part of the Grimeborn Opera Festival.
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