Musical: The Secret Life of Bees

Well, from last week with no Meetups to this week with (almost) nothing else! Today, back with Up in the Cheap Seats (UITCS) for The Secret Life of Bees, at the Almeida - no seats left in the stalls, when I booked! Seatplan made me wary of the cheapest seats, so I was in the next bracket up..

Ah now, I don't get up this way often enough. And one place that's good to eat up by this theatre is The Bull.. I love their chicken schnitzel, but as I see from my blog entry from the last time I ate there, I was too late for it on that occasion! It's close enough to walk.. but just as I was gearing up to go, the rain started to thunder down. Really, thunder. Yeah - no. I took the bus(es) - just in time to miss one, of course! And then, when I changed, we were diverted.. I was wondering how Google Maps came to predict a 15-minute journey to travel two stops! Well, I wasn't too late to the pub - which was pretty full, but I found a free table by the bar. Secured it with my coat and grabbed the barman, asking hopefully for the chicken schnitzel. Well gee, if I didn't get the last one! As I said, that's revenge for the last time I was there.. And it was served quickly, and was lovely.

A short walk then, to the theatre, and met the others in the lobby (where I didn't notice immediately, but they've introduced a couple of low-level tables, complete with chairs!). They could do with them.. there is a perpetual shortage of seating, here. And we chatted before we went in. Ah me, my first Meetup chat in over a week.. And so to our seats. Seems that those of us in the Circle were in the minority in our group - there seemed to have been a last-minute release of Stalls tickets. Ah well, out into the rain again with us.. (the Circle entrances are outside..)

Decent seat, well done Seatplan! The seats are raised, and there's a bar to rest your feet on. Also a decent view, although we had to lean a few times to catch action happening right under us, and I'd have pitied anyone sat behind us! except there wasn't - the row behind us (Row C) was completely empty. So, the theatre wasn't completely sold out, then - just mainly!

Justifiably. I can't quite remember when I last saw something this good - not this year, I think. An incendiary story, set in South Carolina in 1964, sees a young white girl, abused by her father, run away with the black housekeeper - only to find the bee farming community that once took her mother in. Combine that with the racial issues, the movement to get black people registered to vote - and a story interwoven with the events that inspired Mississippi Burning - in a blistering hot summer, and you get a tale that will get your blood boiling.

The staging is excellent, with a revolving pathway on the outside edge, and simple props providing the backdrop throughout. Everything is lit in a wonderful, golden light - honey-coloured, you might say.

But for me, what swung it was the music - catchy and more upbeat than you might expect from this desperately serious story, it was half musical, half gospel concert! A glorious score - and wow, I have never heard better singers in a musical than I heard tonight. The sheer power of the performance blew me away. As someone remarked afterwards, this will probably transfer to the West End - as far as I'm concerned, it's a given!

Runs till the 27th of next month - you'd be mad to miss it! before it transfers, and ticket prices soar..

Tomorrow, I was to be back with Over 40 Living the Life, for dinner at the Greenwich Yacht Club again. Until I got a message this evening to say that everyone had pulled out - dunno why - and it's been cancelled! Ah well - Plan B, as usual, is a film. Now, I already had the film list done for this week - but that blasted listings site is so unreliable, I had to do it again. And sure enough, I came up with a whole heap of films at the top of the list that weren't even on the list, last time I looked! Standout among them is the NT Live production of Good. This stars David Tennant as a German professor at the outbreak of the Second World War, who is forced to examine his conscience.. Closest showing to me is in the Vue at the O2, which I've booked, to get one of the cheapest seats, under their new theatre-style seating. So delighted to have the chance to see this - I missed it when it was showing live.

On Wednesday, I was thinking film again - couldn't see anything better coming up than what's advertised by The London Movie Club and The Hideout: Horror Sci-Fi Club London! both of which I'm a member of. And both of which, it transpires, are run by the same people! So I've signed up with the Hideout. Specifically, what's happening is Alien Day - a special double bill of the classic, Alien, and its sequel, Aliens, at the BFI Imax! See, the first planet where the aliens land is named LV-426.. So, you know, 26th of the 4th.. Now, I've never even been to the Imax, so this'll be interesting! Also good to meet these folks again - apparently, there'll be a break between films as well, when we can have a chat.

And on Thursday, Helen's in town for a conference - we're meeting for dinner at Colosseo, before I head off to join UITCS again, for The Good Person of Szechwan, by Brecht, at the Lyric Hammersmith! 

Play: Women, Beware the Devil

Tonight, back with Up in the Cheap Seats (UITCS) for a play called Women, Beware the Devil, set in the year 1640 - showing in the Almeida.

Islington, where the theatre is, has many restaurants - so I said I'd eat up there. Saw Sichuan House, just around the corner, and said - gee, I don't eat much Chinese these days - so I decided to go there. Could have walked, but I was glad I got the bus - that uphill walk in persistent drizzle would have been miserable! Mind you, as it was pulling in, we were waiting for another to pull out - and for all it had a "low emissions" sticker on its rear, such emissions as it had sure were stinky!

In the restaurant, I sat facing the road - and it's interesting to note that I could see two restaurants across the road from me. And there was one next door. Yes, they are well served in Islington! (This is it - note the theatre-style booths for seating!)

Anyway - my (house) wine was a bit insipid, but the food was excellent. Once I picked all the chilli peppers from my forkfuls of kung po (yes, I use a fork - otherwise, my food would decorate the walls and ceiling). Good service too. At one point, a lady at a nearby table asked for salt, and was shocked to hear they didn't have any! So she complained tetchily to her companions about how "people have different tastes, you know". Yes, and I'm guessing she's more used to over-salted Chinese takeaways. Ah well..

At the theatre, I queued for a wine - again, I had the house white - from a barrel, this time!

Blast if it wasn't insipid again! Anyway, I located the others, near the back of the lobby - and gee, guess who showed up unexpectedly (hadn't booked with us, but had been in the area and came on a whim) but one of the organisers of the London Classical Music and Theatre Group! who hung out with us until it was time to go in. Nice to see him - and rare, just at the moment - his events keep clashing with others!

I was in Row B of the Stalls, as it happens - I always book in the Stalls here, so as to be able to take in a drink. Anyway. This pentacle was an encouraging start - I do love my witchcraft, and the 17th Century is just the period for it! The first - and, I think, longer - part of the play is a pretty straightforward witchy play, the poor stablemaid whose mother was a witch is accused of the same, but is taken into the great house because the noble lady who lives there has a plot of her own.. there's a witchfinder, there's blood sacrifice.. you know, a standard evening down the local stately home..

At the interval, I queued for another wine, and this time plumped for the most expensive - the chardonnay. Damned if it wasn't as insipid as the others! Is it me? Have I suddenly lost my sense of taste? Anyway, as I remarked to people, I'd read a review of this as being rather confusing. We couldn't see why, on the basis of what we'd seen so far..

It becomes clear in the second act why the reviewer was confused. So, we're ok with whom the witch is by now. In the second act, she seems to have sold her soul, so to be free to spout whatever she likes. Such as modernist, feminist, free-thinking, "live your best life", republican ideas - heavens, who knew that a stablegirl from 1640 (presumably lacking a formal education) could even imagine such notions? Maybe the Devil was instructing her.. So I'm guessing that this is the culmination of her demonic reincarnation. Heaven forbid that a woman should harbour notions of equality - or that a servant to a great house should have republican ideals. Well, the times were surely a-changing..

Whatever you might think about the switch in emphasis in the second act, this is undeniably beautifully staged. The Devil - an attractive demon, to be sure - appears in an assortment of different guises, almost always in the background somewhere. The set is made to look like a reception room in a stately home, with wood-panelled walls, leaded windows, and a chequered floor. A four-poster bed pops up and down through a trapdoor - rather like a periscope, as the review describes - whenever the action is required to take place in a bedroom. And for mealtimes, two halves of a table are pushed in, one from each side, to form one enormous dining table - decorated sumptuously, but slightly differently, each time, and really setting a scene of decadence.

I'm not too sure about her modernist makeover, but otherwise, this is an excellent watch. Runs till Saturday, if you're interested - and I do love the simple drama of the theatre's webpage for this play, which just has the witch turning her head to look at you..

I walked home. It wasn't raining as much, plus it's downhill!

Tomorrow, I booked with The London Palestinian Rights Meetup Group for Taking Sides – A Conversation about Love, War, and Changing the World. Happening at Amnesty International UK. But you know, I thought I might just go to a film instead.. When the listings came out, top of the list was Rye Lane, a romcom set in South London. The trailer looks hilarious - this looks like much more fun than that talk, and since it is free, I have no problem in cancelling my attendance. Nearest place to me showing the film that day is the Vue Islington (which, ironically, I passed this evening) - which now has theatre-style pricing, with different seats at different prices. So I booked, to get a decent seat at the cheapest price possible..

Back with UITCS for the next two days - on Wednesday, it's for comedian Rosie Holt at the Leicester Square Theatre.

On Thursday, I'm at Further Than the Furthest Thing, at the Young Vic. Then back to Ireland for the weekend again. Might get to see Scream VI at last, if it's not gone already..? Full listings not out yet, but what is there isn't encouraging..

Next Monday, I booked with the Happy Positive Group! For their weekly Monday trivia night! They seem to be completely online. But wow, looking at it lately, they seemed to have switched that week to the next day! Although, having cancelled my attendance, I then noticed that all Meetups were displaying in the wrong time zone, so were shown as starting five hours later than they actually were.. I complained, and they did fix it. Well, I probably wouldn't have gone anyway. The best Meetup left for that day is with the Shanty Singers Colliers Wood. This is another of those things I once booked and ended up cancelling, so I'll hold off on booking that till nearer the time. As is becoming usual.

On the 28th, I've booked for Phaedra, at the National.

On the 29th, I'm going with UITCS to Sadler's Wells - first time in an age - for Creature, by Akram Khan! I absolutely love his work. Handily enough, I used my latest Theatre Token for this - would have used it for Phaedra, but while neither theatre takes them online (you have to phone if you want to use a token), the National charges extra for phone bookings. So I used it for this instead.

On the 30th, back with the London European Club, at somewhere called the Ugly Duck, for Synchrony, a female 12-piece string ensemble. Tickets from Eventbrite. As hosted by Eleanor Salter Thorn again! So glad to see her hosting events in more central locations..

I was keeping the 31st free because Ivan is feeling thirsty again. :-) And for once, he seems to be sticking to the date, having booked us a table at The Lucas Arms (which, as he pointed out, has a smoker's area). We're hoping to have Martin - my other friendly ex-boss - join us, but he has more family commitments, which he's trying to juggle - we've told him to join us whenever. And this looks like turning into the first zapoi in a while - Ivan is talking about booking a studio, where we can drink overnight. Oy ve, watch this space.. So, not pushed about doing anything extra on the 1st.

And on the 2nd, I'm back with the Crick Crack Club, for Orpheus Dismembered, at the British Museum, courtesy of Ben Haggarty. The event there that I'd already heard of..

Play: House of Shades

Now, this week is a bit problematic - my boss is mooting a team dinner, but is supposed to have a poll to decide the day. Which hasn't happened yet. And of course, I really want to meet these folks in person for the first time! So, all plans are up in the air. But he didn't say anything about it today, so I headed to see House of Shades, in the Almeida. I heard mixed reviews, but what I see here tends to be marvellous!

Ooh, I can walk from home! Lovely, and I did - despite all those hills I have to climb. Headed ASAP, but still didn't have time for anything major to eat - happily, the cafe at the theatre had some rather nice smoked salmon and cream cheese sandwiches, so I had one of those. Unhappily, they didn't have seating to go with it, so I ended up sat in the lobby. As I keep saying, the one major flaw of this theatre is the lack of seating in the cafe! Anyway, had Picpoul de Pinet to accompany it, and you can take it in as long as it's in plastic.

Despite having to queue behind a group of indecisive people for my drink, I was still the first person into the stalls! possibly because, even though an announcement had told us that they were open, a barrier was still blocking the stairs to the entrance!

Now, I found this a very interesting play, if hard - at least initially - to pin down. The year is flashed onto the rear wall - we start in 1965, and there's a scene for 1976, 1985, then 2017 (as I recall). Basically, the recurring theme is of the shades - ghosts, if you will - of the past, haunting the people of the present. In the family at the centre of the story, the mother is haunted by memories of an unhappy childhood, which blighted her adult life in ways that gradually become apparent; a teenage daughter becomes pregnant, and what happens next is only fully revealed when the mother is on her deathbed (for once, the trigger warning about the "graphic depiction of an abortion that involves blood" is justified - even I was disturbed). Her children grow up with their own ghosts to haunt them.

As I say, it's initially hard to pin down - there's plenty to be distracted by: for example, when the son of this Labour-voting family brings home a Tory girlfriend, and you get the distinct impression that the Tories are supposed to represent feminism! Jesu, just because Thatcher became PM?! Lordy, feminism isn't exactly what the party is known for, these days..

Overall, I did feel connected to the characters, and it was fascinating, towards the end, to see the older and younger versions of the same characters appear together on stage, in juxtaposition. Caveat: as I say, there are disturbing elements - also strobe lighting. But I do recommend this. Runs till the 18th.

For tomorrow, I figured, well, he didn't say anything today, so this dinner is probably not happening this week at all! but certainly not tomorrow. Watch this space. So that left me free to book the opera of Samson and Dalila, at the Opera House, with London Classical Music and Theatre Group. Got the very last seat in the slips - and this will be my only Meetup of the week. Ironically, the office is only a hop, skip and jump from there, and I initially thought to head in for the first time tomorrow - but then I realised I have an early meeting, so I said, perhaps not. And later, the agent contacted me to ask whether I could be in the flat from 4 to 6, so someone can come and inspect the gas - so that's that, then.

On Wednesday, headed to The Father and the Assassin, at the National. Based on the story of the man who murdered Ghandhi, this is supposed to be excellent, from reports I've heard!

On Thursday, heading to Britannicus at the Lyric Hammersmith (and damned if CT doesn't now have tickets for this!). A political thriller, set in modern-day Rome. Then back to Ireland for the weekend.

Next Monday, I've booked for Tony! The Tony Blair Musical, at the Park Theatre.

On the 14th, booked for Girl on an Altar, at the Kiln Theatre. This is the story of Clytemnestra and her husband, Agamemnon, following his sacrifice of their daughter to the gods.

On the 15th, I'm going to a concert in the City Churches Music series. This is Brilliant Brass, performed by the Royal Philharminic Orchestra Brass Quintet in the church of St. Stephen Walbrook. I got my ticket from CT, though.

On the 16th, headed to Mad House at the Ambassadors Theatre.

On the 17th, back with the Crick Crack Club! for The Nine Muses of Queen's Crescent, at Rich Mix. Courtesy of my favourite storyteller, Clare Murphy, whom I haven't seen in an age!

On the 18th, I had booked with TAC for Haydn's Creation at St. Pancras Church, Euston. And then I saw that Bucket List London had booked something for that afternoon! specifically, a trip to Greenwich Royal Observatory and/or the Ranger's House. Ah well now, I haven't been out with this group since January! Ironically, that's where I first met Laurence, on so many of whose walks I've subsequently been - and who knows when I'll see him again?! since he seems only to run walks on weekdays, now. I seem to be swapping one for the other.. So anyway, I'm now going to all of the above. One of those busy days.

On the 19th, back with London Guided Walks - but, armed with the information that they now advertise through TAC, I've booked through them instead! This is the Secrets of St. James Walk, and given how I booked, I must remember to bring £3 cash on the day. I have to admit, the standard of these walks is excellent.

On the 20th, back with Up in the Cheap Seats for Jitney, at The Old Vic. I didn't fancy the cheapest seats - but gee, SFF had seats in all but the most expensive price bands, for very little more! So I now find myself in the central Stalls for this..

And on the 21st, I'm at the Royal Court for That Is Not Who I Am, a play about identity theft, from an unnamed writer. Ooh.. website seems to be down currently.

Play: Daddy

Tonight, booked to see Daddy at the Almeida. Having never seen a bad production here, I had high hopes. Decided to check out the theatre cafe beforehand for something to eat. Was intrigued when I downloaded my ticket, mind - the first photo was of Andrew Scott! Got excited for a minute, thinking - is he in this, and I missed it? Sadly, no - the caption explains that these are photos of past productions at this theatre, and this one was of him in Hamlet. Now, that brings back memories.. arguably the best production of anything that I've ever seen!

My, it's over two years since I was here in person, imagine.. And this was the first time I arrived before a show and could get a table! I see space hasn't increased in the meantime. I ordered the pasta with smoked salmon and cream, and the wine that someone was kind enough to introduce me to once, but whose name I can never remember. They gave me a number, I took a table. The food took about 15 minutes to arrive - they never did recoup the number! And.. I have to say, it was rather tasteless. Perhaps it was the ratio of cream to fish - there was hardly any salmon - but I hardly tasted a thing. Ah well, being pasta, it filled me up nicely. And the portion wasn't too large. The last table, BTW, was taken 50 minutes before the show was due to start. Just as an FYI.

I got another glass of wine - in plastic - to take in with me. Unfortunately, I was in the Circle - but then, with warnings that those in the front two rows might get splashed with water, perhaps it was as well! As we went in, she was checking our tickets - and handing us stickers to put over our phone cameras! I kid you not. Just in case we should be tempted. As I replied, I was intrigued..

My seat was to the side - it was fine, although I was glad to have the seat beside me free to swing my legs into, and I was glad not to be closer to the stage - I had to lean a couple of times to see what was going on, but the guy right at the end must have had some difficulty!

When the curtains parted, we could see why the audience at the front were in danger of being splashed - the setting is a villa, complete with a pool in front. And at one stage or another, all the characters end up in there. Clothed or not (hence the camera covers).

The story concerns a promising young artist, who acquires a sugar daddy - this is his villa, and he's moved the young man in. The artist's friends move in at his invitation, and the whole first half is an OTT riot of fun, as they enjoy the wealth, and wallow in shallowness. Just wait until mom shows up in the second half, wanting to know why her artist son never calls any more! and bringing everyone down to earth with a harsh dose of reality..

God bless the Almeida, yet again they haven't disappointed! This is marvellous, featuring a Gospel choir who pop up all the time, the pool (which looks great from upstairs), a feast of male nudity.. and some suitably swish outfits on the ladies! A feast for the eyes, hilarious in the first half, profound in the second. Yep, the Almeida's productions are always worth a look. Runs until the end of next month - limited availability for the rest of the week, and on the 5th, and sold out on Thursday. Run, get a ticket! Highly recommended.

Tomorrow, finally going to see Andrew Lloyd Webber's Cinderella! I hear good things.. it's playing at the Gillian Lynne Theatre, which is new to me - Seatplan was invaluable in choosing the best seating option. What's On Stage provided the cheapest price for that seat, though!

On Wednesday, back with Civilised London (CL) - for a play this time. This is The Fever Syndrome, at Hampstead Theatre.

On Thursday, back with TAC for One Night With Robbie Williams. This is at The Courtyard.

On Friday, my job still being up in the air, I've provisionally - again - booked with Laurence Summers and the 45+ Not Grumpy Old Londoners for a daytime walk. This is Tinker, Tailor, Soldier & a Hatful of Spies - and comes highly recommended from previous attendees! In fact, I got the last spot (at the time, anyway). Do hope I can make it.

That evening, back with the Crick Crack Club (CCC) for - The Grand Annual Lying Contest! at Rich Mix.

On Saturday, I had booked with Walks, Talks & Treasure Hunts for a Regent's Canal Walk. But yay, Laurence and the 45+s then advertised another walk for that day, which is pretty much guaranteed to be superior. So I've booked it. This is Scandals, Scriptwriters & Sumptuous Architecture - and of course, it being a London weekend, I can go!

That evening, an ex-colleague of mine is having a leaving do - he's emigrating. Happening at The Woodman, in Highgate. I said I'd put in an appearance.

On Sunday, the CCC again! Emily Hennessey and Sheema Mukherjee are at the British Museum, with Holy Cow! Tales from the River of Life. Unfortunately, the London Landmarks Half Marathon is also that day, so I'll probably be on the Tube, at least getting to the museum. 

Next Monday, I'm back at the Park Theatre for the first time in nearly three years! This is for Clybourne Park, a comedy about a white family moving into a predominantly black neighbourhood.

On the 5th, I'm headed to But I'm a Cheerleader, a musical comedy at the Turbine Theatre.

On the 6th, back with Up in the Cheap Seats at Southwark Playhouse, and another free ticket for me! This time, it's for Anyone Can Whistle, with music and lyrics by Stephen Sondheim.

On the 7th, Tommy Tiernan is playing at the Hammersmith Apollo! Now, I failed to get a ticket for this the first time around. Then it was rescheduled because of Covid.. and I got a ticket for the rescheduled event! Then that was rescheduled.. third time lucky?! Love Tommy Tiernan. The show is called Tomfoolery. And then it's back to Ireland for the weekend again.

On the 11th, I've booked for The 47th, at The Old Vic. Written by Mike Bartlett, this imagines the American presidential elections of 2024. I am really looking forward to this play..

On the 12th, I'm finally going to Six, the Musical! Based around the story of the six wives of Henry VIII (very loosely, I'd say), it's playing at the Vaudeville and I hear good things. Cheapest tickets from Leicester Square Box Office.

On the 13th, back with CL, who are off to the opera at the Southbank Centre. The show in question is The Paradis Files. Next day, I'm back to Ireland for Easter - but left it so late to book, I could only get an afternoon flight, and will have to start my new job (whenever) by asking for that day off work!

Well, my friend got back to me - they're away in the middle of Easter week, back on the 21st, so the most sensible thing to do seemed to be to visit on the 22nd, which I've now arranged with her. Whether I take that week as holiday, or take the laptop there and work from Ireland, remains to be seen. Anyway, I'll fly back to London on the 24th. And on the 25th, I'm off to The Corn is Green, at the National.

Play: Hymn

Today - well, Up in the Cheap Seats watched Hymn last night. Of course, I couldn't make that time, so watched on my own. It's live-streamed from the Almeida, last day today, so the only show I could make was today's matinée. And I'm glad I took the organiser's advice to book early, as the last one sold out - this one did, too! (As I learned from last week's Graham Norton Show, where one of the stars of the play was a guest. And proved himself an excellent dancer.)

I logged into the Almeida website early, where the livestream of Hymn actually starts an hour beforehand - but the performance doesn't start immediately. Anyway, in the meantime, they show a couple of background videos. It's shocking to hear how even a sell-out show only provides 40% of what they need to keep running - alongside box office receipts and a grant, they must raise £2 million every year in donations! Crazy - especially for a theatre that produces such excellent material.

Sadly, I don't count this play among such material. A Q+A afterwards at least explained to me, to some extent, what I should have got from the play - the story, basically, starts with a funeral, which is the meeting point for two men that subsequently form a close bond. The next 90 minutes consists of a series of chats that they have, in which they discuss their lives. And there's some very nice singing.

I guess I could have found something interesting in such a play - but I didn't. Not much of their life experience resonated with me, nothing really happens with the plot. I fell asleep, I think - didn't miss anything. Even the Q+A, which at least had more content, wasn't interesting enough to distract me from doing other things. I'm sure there are people that will gush about this - it is well written and well acted - but it left me completely cold. Oh well, I needed a nap.

Tomorrow, Up in the Cheap Seats is watching Angels in America (Part 1 - Millennium Approaches), a National Theatre production. Again, would you believe it, not at a time I can make - they're starting early, but it's very long. Well, this is one you can rent at any time, and watch on demand for three days after - so I've rented it. Hey, it's cheaper than your average NT production.. Curiously, priced at £6.66. Coincidence..?

Play: The Duchess of Malfi

Well, I finally flew back to London last night. Slightly delayed, but not too badly - the real delay came in the engineering works that meant that the Stansted Express wasn't running. I knew that as soon as I tried to book the ticket, months ago, though - and I knew in advance I'd be on a bus. Decided to try the Airport Express - if nothing else, it's cheaper than the National Express!

Bought my ticket on the spot.. now, I was delayed a bit because I had to collect the bag I'd unusually checked in, but still, I shouldn't have had to wait as long for a bus as I did. The Airport Express stops (13 & 14) are just past the National Express ones as you come from the terminal. And - what with the cheaper tickets and all - the queue for them was as long as that for the National Express. Of course, this was a heavy night for bus traffic. Anyway, the Airport Express obviously isn't used to that level of demand, and couldn't decide whether to merge the two routes (Victoria and Liverpool Street) or put on separate coaches for each.

So, we started off with one huge queue.. then someone authoritative decided there should be separate coaches, and split the queues (which was when I managed to get near the head of my queue). Mind you, all this was news to the driver who arrived bearing a destination sign that said "Victoria via Liverpool Street" - and started by pulling into our (Liverpool Street) bay before being told to head into the other one, and nearly causing a riot as certain excitable youngsters in our queue - obviously not used to the chaos of Stansted - tried to jump into the other queue. Irate passengers were starting rows about all sorts - queue jumping, one woman delaying people by arguing with the driver that she wanted to take her case on-board.. but then, the buses were few and far between, and it didn't help, firstly, that timetables were unavailable on the website, and secondly, that most of the staff were overwhelmed and clueless. No, in future I think I'll stick to the National Express - with more frequent and predictable buses, there's a lot less trouble, for not much more money. And they drop you in roughly the same place.

Tonight, I started as I mean to go on, with Up in the Cheap Seats at the Almeida for the Duchess of Malfi. Well, having said that, it's actually my only Meetup this week - they just hadn't arranged much when I started to book! And it's just as well I started to book when I did - tonight's performance, for example, was sold out. Our new office (for which my new pass still doesn't work!) has the advantage of being a little closer to things in this direction - or certainly to the #4 bus route, which took me there. The stop is right around the corner, and it wasn't hardly long in coming - kudos to Google Maps, they finally seem to agree with TFL on expected bus times! I might hardly need a separate bus app any more. Our poor driver gave every single embarking passenger a spiel about how he wasn't going to Finsbury Park, he was carrying up along Holloway Road. Probably to do with this evening's match, people in the group surmised..

At the theatre, it was as crammed as ever - so it was a good thing that I recognised people in the group, and knew which direction to squeeze myself over to. Good to see folks, first time in the New Year! Much of the talk centred on the striking photo, a publicity photo for the play, that dominated the lobby:

Yes, as you might guess, they do use black ink to represent blood in this production. And you have to expect a pretty bloody conclusion to any given 17th century tragedy - it was the popular plot point of the time. Anyway, with some trepidation about what might be thrown over us, in we went.

I quite like side seats - you get to see things from an unusual angle. And that pillar didn't get in the way too much - there aren't usually too many people on the stage at once, so it's easy to lean one way or the other to get everyone in view. Mind you, it took some time to get to my seat - there were two of us to be sat in that row, which was completely full when we arrived! A group had taken most of the seats, and just blithely sat where they pleased, apparently oblivious to the concept of seat numbers. Took forever to persuade them to move - I think they were part of a school group. In the end, I had to climb over a bit of the stage for my seat - and had a handy, empty space in front of me, both to stretch my legs, and to leave my bags.

Speaking of school groups, as I mentioned to a couple of people at the interval, wasn't it so much better (assuming this was on the curriculum) to see this production than just to read it? It had occurred to me, during the first half, how very much drier it'd have been in text. As it is, I loved the staging, which saw a very slick, modern-looking stage (shiny black floor, lots of glass), intense acting, and a kind of fish-tank (yes, a box with glass on the front) that was moved forward and back throughout, with actors in it. This was used for a variety of purposes - as a changing room, a preview of the next scene, or perhaps as background, giving a fuller description of the story than the text could.

Of course, with publicity photos like the above, this is not going to be a happy tale - emphasised by the consistently ominous background music. Basically the story of an aristocratic woman who marries "beneath her", and whose brothers object, you just know it's going to end badly. And bloodily (or inkily). But this is a woman of our times, with a mind of her own, determined to fight as best she can - which makes for a compelling battle. (Based on a real-life character!) And the sheer intensity that the actors put into it (well, mainly the title character) is what lends this production so much more than the text does alone. I loved it. My one quibble was the vicarious carnage at the end - but, as I say, to be expected with dramas of this period. I loved, loved, loved it - after three weeks in the wilderness, the poetic script was like blood to my veins.

Gotta say however, I was one of the ones who thought the most of it - most of the group seemed to be negative about it, finding it wordy and boring. What the hey, I had a great night! Good to be back. And someone had cake at the interval - although I didn't end up having any. Just as well I got chatting at the interval - afterwards, I really needed the loo, and when I came out, they'd all scarpered! Damn cold night it was too, as I made my way home. Runs till the 25th, but currently only limited availability this Wednesday and on the 22nd. Highly recommended - by me, at least!

Tomorrow, I'm off to the Opera House, for the Royal Ballet's production of Coppélia - one I've never seen. Another one I was wise to book for - apparently, the whole run is now sold out.

And on Wednesday, the RSC's production of Measure for Measure, at the Barbican. Set in decadent 1900s Vienna.

Play: The Doctor

Tonight, went to see The Doctor, with Juliet Stevenson, at the Almeida. Now, I'd originally booked for this for last Thursday, forgetting that The Embers Collective were meeting. Can happen when I'm booking lots of stuff. (Seems I was really not destined to go to that!) When I realised my mistake, I thought I just wouldn't bother with this - then saw that London Dramatic Arts were going tonight! So I switched my ticket to tonight, and let them know I was coming too. Last night, the organiser finally marked me down as going - we were meeting for food in Radici beforehand.

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.

Play: Dance Nation

Tonight - well, I got tired of waiting for London Literary Walks to arrange something, and with a huge choice on Meetup, I finally booked with Up in the Cheap Seats (UITCS) to see Dance Nation, at the Almeida. Unfortunately - pardon my French - it was a bugger of an afternoon, and with a meeting running till 6.30pm, I didn't finish as early as I'd have liked. So, instead of walking, I took the bus. Have to say, it couldn't have been more convenient, going from right around the corner from the office to right around the corner from the theatre. The nice lady at the box office didn't ask for my postcode - but it turned out that I'd booked it with my Irish credit card, for some reason, and not provided a postcode! so that'd be why, then.

We congregated nearby, shortly afterwards, and stood and chatted until it was near time - everybody was unusually prompt today! I'm afraid, with the day I'd had, I was a bit out of it. My "restricted view" seat was, frankly, nothing of the kind; a slim pillar, way to my left, obscured a tiny amount of action. Now, this is a curious piece of work - it deals with an American pre-pubescent competitive dance group, but the members include a man, and women ranging in age from, say, early twenties to much, much older. One of them is Nancy Crane, for goodness' sake! Also Miranda Foster and Sarah Hadland. Manjinder Virk is another. Suspension of disbelief is required.

Well, I've seen enough plays with songs in them - they call them musicals. What do you call a play with dance in it - a dancical? There isn't a huge amount of dance in this, though - really just one reasonably complete number. Lots of angst, as the various members experience pretty much everything you could reasonably expect from a pre-pubescent girl. Oh, and lots of SHOUTING! One character, in particular, seems to feel the need quite frequently to SHOUT her female empowerment. Some pretty LOUD soliloquies. And despite some very sweet scenes - and almost believable turns as pre-pubescent girls by people much older - I found some bits that dragged, and were laboured, and I just thought it didn't gel. And I think the rest of the group agreed with me - we had a very enjoyable debrief, outside afterwards. Runs till the 6th of next month.

Walking home, I came across a guard cat.. restricted pavement access, here. If you see this cat, steer clear - not open to receiving visitors:

Tomorrow, in contrast to today, there's nothing on Meetup that I fancy! There is a work social, but they still haven't let us know the venue, so I passed. Instead, the £3.60 club is letting me see Scandale, at Sadler's Wells - for £5.40. Still a big improvement on the official price of £20 - and just like before, they have a cloak-and-dagger collection method, where you collect your ticket across the road, from someone with a pink clipboard..! Hey, I might get a better ticket than usual.

On Friday, I'm with Spooky London - for yet another ghost tour. This one is the Thames River of Death Ghost Story Tour. Be interesting to see what hand this group makes of ghost stories - payment on the day, so (unusually) I must remember to bring cash.

On Saturday, Let's Do It! is off to Windsor. However, they're off to a Mexican restaurant as part of the day, and I don't really like Mexican food.. and have seen Windsor town in general anyway. However, I haven't yet been around the castle.. so lo, I've booked myself a ticket for that day, finally. I see it's one of those places I'll have to buy a souvenir guide for - no photography allowed inside. Tip when booking train tickets - use the Trainline website to look, not book! Get the rail company name from them, then book with the company direct. It's cheaper. 

On Sunday.. tan-ta-ra! The Crick Crack Club is back after the summer! Not that you'd know it from their Meetup group, whose next advertised Meetup is next month! Anyway, on Sunday, Tuup is telling the tale of The King and the Corpse, at the British Museum, accompanied by Sheema Mukherjee.

On Monday, back with UITCS - all the way to the Orange Tree, in Richmond, for Losing Venice.

On Tuesday, my £3.60 club has a ticket for me to hear Professor Rana Mitter speak about China for an hour in the China Exchange.

Next Wednesday, well, London Literary Walks is back on - but I'd already booked with UITCS for Natalia Osipova in Sadler's Wells. Then I'm back to Ireland for a long weekend.

On the 17th, Crick Crack is back.. again! Just as well I'm on the main club mailing list. This time, it's Aye, Coyote! in Soho Theatre.

And on the 18th, back with UITCS for Pinter at the Pinter.. Pinter plays at the Pinter Theatre! Our particular combination is One for the Road / New World Order / Ashes to Ashes / Mountain Language. I bought my ticket for this one from another member who couldn't go - Ticketmaster, so hopefully there won't be a problem with me picking up the ticket.