Film: Bachelor Mother

For tonight, what came up tops was a Ginger Rogers film - the BFI is doing a season of her films, All That Sass, lasting until the 29th. This one is a comedy called Bachelor Mother - daring for 1939, it has her as a single mother! Mind you, in her case, she finds the baby abandoned outside an orphanage.. also stars David Niven, and Charles Coburn as his father, her boss. Also a late one, which was just as well, as it gave me more time to work.

So, I got a fair bit done, before heading off at 7. Arrived at O' Neill's at maybe 7.15 - downstairs was full, but upstairs pretty empty. (I'd beaten rush hour - tons of large tables arrived right after.) As he showed me to a table, he recognised me - and pointed out that the menu had changed. NO MORE KATSU!! Ah, bummer - he suggested the replacement, chicken tikka masala, but no, I'm pretty sick of that. Had a pretty mediocre gammon steak instead - with a steak knife, yet. First time I've been given one for gammon - but it was just as well, since it was a bit tough. At least the onion rings are still good - also just as well, because, not to put too fine a point on it, the chips were shite. I left a substantial portion of them. Honestly, I probably won't be back - pity, but then I have several alternatives now. Hey, it's over a month since I was last here, anyway..

A cold wait, then, for the bus - and I just made it in time for the film. As I hurried in, the usher explained how a little red light at the end of each row had the row letter on it - mine was the row whose light was broken! With the lights off, for the actual seat number, I just had to count..

So, the BFI always distributes info sheets at the films it shows - I picked up this film's sheet afterwards. And I see that this was Ginger Roger's foray into real acting, as opposed to just dancing. Sure enough, she doesn't do much dancing in this - there are a couple of token dance scenes, for her longterm fans, I guess. As for David Niven, it was his first comic role.

And it is really funny! Not "funny for its time", or "making allowances for when it's set" - these folks could settle quite happily into contemporary society - or we into theirs. Several people in the cinema laughed out loud throughout - including me. As the film sheet said, it's a topic that lends itself to farce - but the genius of this film is that it plays it straight. The acting is excellent, the comic timing superb - this is a real tonic. Delighted to have seen it! and what a contrast from last night..

For tomorrow, I've booked For Black Boys Who Have Considered Suicide.. at the Apollo. I have a front-row seat in the Dress Circle - now, I seem to remember ridiculously tight legroom, here - so I'm at the end of a row, and Seatplan says it'll be OK if I lean forward.. Just a couple of days ago, they asked me to "check in", and thereupon sent me my ticket..

On Thursday, I'm with TAC for a talk on Arab & Islamic Roots of Europe's Architecture, at St. Mary Magdalene Church.

Then it's back to Ireland for the weekend. On Monday, back with Up in the Cheap Seats 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'm in the next bracket up..

And next Tuesday, back with Over 40 Living the Life, for dinner at the Greenwich Yacht Club again. Well, it was good last time - good food, cheap prices, good company. Five of us going so far..

Films: The Sparring Partner & Fanny och Alexander (Fanny and Alexander)

These three days, with nothing on Meetup that I fancy (and can make), I decided on film. Top of the list for Monday - that I could make, and looked like I might actually enjoy it - was The Sparring Partner, a Hong Kong film based on the true story of a young man who conspired with his friend to murder, and dismember, his parents. Closest showing was in the Odeon Luxe Haymarket - unfortunately, for days, I could neither confirm the times, book a ticket, nor see how it was booking, because the website wouldn't let me in! Even when I got access on my phone, it didn't work right - I always have trouble with Odeon. Apparently, I wasn't the only one - they were advising people to try to use the website incognito.

The website finally worked - on Monday! - only for me to see that the film was nearly sold out. So I booked in a hurry - getting half-price because I signed up as an Odeon member 10 years ago, when I first came to London! Anyway, I tried to get into O' Neill's again to eat - no such luck. The downstairs was packed, but the upstairs was open - but lo, they told me they were only taking bookings. Sod that, I made for the cinema.

Mercifully, it hadn't snowed any more - and hasn't, at time of writing - and the pavements are getting ever clearer, from constant footfall. The West End is particularly clear, given the volumes there. Realising I'd be crossing the Trafalgar Christmas Market, I thought I'd try for food there - I had time. Sadly, no mulled wine - but I had a very welcome burger. Caveat - if that's what you want, go to the stall in the middle of the market - it's £1 cheaper than the one at the edge. Location, location, location.. And after that, I treated myself to some churros - delighted to see these at all the markets now! Yummy. And very welcome in the cold we had that night..

And so to the cinema, where the screen wasn't open yet. They had pinot grigio on the shelf, so I asked for some of that - it was later that I saw sauvignon blanc on the menu. The pinot grigio wasn't great, TBH. Anyway, it wasn't long before the screen was open, and I headed in. All the seats here are recliners, nicely - there's a switch on the side that makes the back lower and the footrest rise. Which meant that all you could hear at the end of the film was the click and whirr of people's chairs being returned to an upright position.

So - it's an interesting film, about an interesting case. Nobody doubted that the victims' son was guilty - for reasons of his own, among them, obviously, a mental disorder, he had committed this crime. It happened in the other guy's flat - the big question at the time was: to what extent was he culpable? The victims' son claimed that the other guy was the ringleader, putting the idea in his head; conversely, the friend, who seemed to have a mental deficiency of his own due to a suicide attempt some years back, claimed he'd known nothing about it until he got home, whereupon the son made him help dispose of the bodies. The truth? probably lies somewhere in between.

The film is based around the lawyers' arguments and - more particularly - the jury deliberations. All sorts of possibilities are entertained - for instance, was the friend faking stupidity? Someone remarked that it's much easier to do that than to fake cleverness. Or perhaps he was just duped by the victims' son, who wanted someone to share the blame. I remember the same deliberations at the time. Go watch it - see whose story you believe, or whether you can come up with an alternative theory..

Again, it ran too late that night to blog, as I had to be up early.

Yesterday - hellfire, if the best thing on Meetup wasn't Free Stuff and Free Events, with another online singalong. I decided on film again - and this time, it was Ingmar Bergman's film, Fanny och Alexander (Fanny and Alexander), which is showing at the BFI. Which has a tendency to sell out - and sure enough, when I checked on Monday, it almost had. So, again, I booked.

I'm in a completely pointless set of sales meetings this week - should have been watching one while writing this, actually. It's part of everyone's induction, but completely pointless for me - the idea is to let everyone know the kind of things that the sales team finds important. So anyway, they're timed to suit the US, where most of the trainers and sales team are - which means they run really late into our evening. So I wasn't expecting to have time to eat - mercifully, one of the speakers couldn't make it, so I just about had! I ran to GBK - which is on the way, and - was completely empty!

Tight on time, I ordered and paid straight away - and gee, they had onion rings. For once. The guy warned it'd be about 10 minutes for the burger - what actually happened was the onion rings arrived after 10 minutes (he muttered something about bringing me a plate, but never did), with the burger not arriving until 10 minutes after that. By which time I'd eaten most of the onion rings. Well, I wolfed down the rest (which was very nice) and raced off, arriving just in time for one of the buses I could get to the cinema. And all was going well.. until we hit dreadful traffic in Aldwych. Including a wheelchair passenger - nothing against the guy, but it was another delay. Finally, when I got to the cinema, and tried taking the river entrance - I was blocked by an attendant who explained that there was a private function and it was blocked that way! So I had to go around. Was 6 minutes late - which, for the BFI, isn't good. Mercifully, they don't seem to have ushers on the doors, blocking latecomers, any more - and this is precisely why I booked an aisle seat. So I took my seat as unobtrusively as possible.

The film opens - well, the bit where I started opened - at Christmas 1907, in Sweden, in the sumptuous (and rather claustrophobic) household of a theatrical family, of which Alexander is one of the youngest members. Fanny is his sister, who doesn't get much of a look into the plot. Frankly, it's something of a relief to get to the next day, when most of the decorations have been removed, and the decor follows cooler, Scandinavian lines. Alexander is a dreamy young soul, but his and Fanny's happy childhood is disrupted by the death of their father, whereupon their pretty young mother marries a local bishop: a nightmare of a man, who sees Alexander's flights of fancy as lying, and disrespectful, and who lives a spartan lifestyle - a complete contrast to the luxurious life they've left behind.

It's a long film, coming in at three hours - a woman behind me remarked to her companion, at the end, "Well, that was long!". I didn't feel it, to be honest. Very glad to have seen this - it's beautifully shot, the characters frequently shot in closeup, continually holding our attention. I became completely engrossed in each aspect of the story. The conclusion of the story is delightful - but the plot isn't really as interesting as the characters living it. I actually really enjoyed it. 40 years old now, imagine.. And I had to be up early again, hence the delay in the blog.

Tonight, I'd arranged to attend another carol service - at St. Stephen's Walbrook - with an ex-flatmate. As advertised by London Cultureseekers. Started at 6pm. But wouldn't you know it - this blasted meeting ran on till practically then. And while I might not be paying attention, it's another thing entirely to sign off! So, so much for that. Instead, I'm at the cinema again - top of the list now is a Turkish film, Elif Ana. Based on a book, it tells the story of a little girl who grows up to be a healer. Full of music, by the looks of the trailer - and music that I like. Actually higher rated than Fanny och Alexander - but I didn't know it was on, not having redone the list yet, when I booked that! Well, tonight's film's closest showing is in Cineworld Wood Green - at 8.20, so I should be ok. Might get food up there somewhere - there's no earthly point in going to O' Neill's.

Tomorrow, back with the Crick Crack Club, yay! for The Winner Takes It All at Rich Mix. This, the club's last performance of the year, is performed by a congregation of souls known as Pandvani 108, comprising Ben Haggarty, Emily Hennessy, and Sheema Mukherjee, among others.

And then I'm back to Ireland for the weekend - just worked out that way - coinciding perfectly with a train strike! So I've booked a ticket on the bus - will just have to take that evening's meeting on my phone! If it even happens.. since I started this job, there hasn't been an evening meeting! Fingers crossed.. And would you believe it, there isn't a single film showing in any of my local cinemas in Ireland at the weekend that I haven't seen and want to see.. Bah humbug! Just have to go Christmas shopping. ;-)

On Monday, back with London Baroque Music Lovers for the first time in months! This time, we're back to see Les Arts Florissants, who are performing Charpentier's Christmas music at the Barbican.

On Tuesday, couldn't see anything on Meetup, again - so I'm with TAC for The Grotto, a Christmas comedy at the Drayton Arms, which was local to me, many years ago!

Next Wednesday, back with London Classical Music and Theatre Group - we're going to St. John's, Smith Square to hear the Tallis Scholars. Which should be lovely!

And - last London event of the year, on the 22nd, goes to (drum roll).. Laurence Summers and the 45+ Not Grumpy Old Londoners!! Oh, it'll be so good to see them again - I'm taking the day off specially. It's for Dickens in the City - a Festive Walk. Ah well now, I wouldn't miss the last of the year.. Starts nice and close to me too, at the Shakespeare's Head pub. And it's full, with four on the waitlist. Nice way to finish the year - I can't go on his walks so much now, while I'm working and he's only scheduling them during working hours..

On the 23rd, it's back to Ireland for Christmas. See you on the other side..! Have a very merry one.

Film: M (1931)

Today, fancied film - and with the film listings finally out, and rejecting the iffy-looking Indian films at the top, what came top was M, a 1931 thriller set in Germany about the hunt for a murderer. Only showing in the BFI, which has a tendency to sell out - this didn't, although I kept an eye on it. Still, it was in the large screen, so I was ok.

Wouldn't you know, I had no trouble getting out on time today. Huh! Arrived with tons of time to spare, bought a ticket - asked for dead centre - and, as I was slightly peckish, thought I'd try out their cafe while I waited (the actual BFI one, across from the ticket desks). D'you know, for all the times I've been here, I'd never been before! Wonder when it opened.. Well, I decided on a hot chocolate - and I'm delighted to say, it was one of the best I've had! I watched her make it - the thick chocolate mixture is pre-prepared, in a tub to the side, and comes pre-sweetened - all she does is add hot milk, and chocolate sprinkles on top. It is delish - highly recommended!

After that, I mooched along to the cinema, and went in when the doors opened. Sure enough, I was pretty much exactly dead centre - people were scattered respectably far from each other all around me. I have to say, over the course of the film, I began to find the seat a bit hard.. what can I say, cinema upholstery technology has advanced. Ah well. I did love reading the programme notes - the BFI is great on these, providing an information sheet on every single film they screen. The notes for this are, it seems, taken from a book about the film.

The notes tell us to take note of the iconic imagery - we must consider, after all, that this was kind of the first serial killer film. The passing of a shadow over the poster about missing children (for this is the story of a child-killer), the balloon caught in power lines, the letter M marked on the murderer's clothes.. but more than all of that, it's highly responsible, highlighting all sorts of aspects of the story: the growing hysteria about the crimes, the capacity of a crowd to grow into a mob, the bloodlust of the people who eventually catch the killer. Directed by Fritz Lang, starring the excellent Peter Lorre as the killer - this is really a film worth watching.

Now, glad to have the evening to myself. Tomorrow, I'm back with TAC - for a play called Angel, in the Hope Theatre. Based on the true story of the "Angel of Kobane", a young woman who fought against the encroaching forces of Islamic State. This is the final part of an "Arabian Nightmares" trilogy of plays by Henry Naylor.

And on Wednesday - assuming I'm not working by then, I've signed up to another walk with Laurence Summers and the 45+ Not Grumpy Old Londoners: The Lady-Killer is an inventive renaming of London's most notorious serial killer.. (Ooh, and I'll have to get cash out again.) Failing that, if I have to work (sadly, a necessary evil eventually), I can always head back to the Soho Comedy Factory that evening.. (Be aware, Design My Night sells tickets to this for £5, but you can show up for free..!)

Play: Rare Earth Mettle & Film: Naked

Now, I've headed to Liverpool Street Station for lunch every day this week - and I have to say, they've been keeping us entertained! There's a busking spot, with a different performer every day - two days ago, she treated us to Whiskey in the Jar, yesterday it was a fellow with a beautiful, deep, crooner's voice, singing Christmas tunes. (Shame he didn't know more of the words.) Today, it was an opera singer! She should really have had amplification though - we could hardly hear her..

Yesterday, the Crick Crack Club was back - online - with Trickster, live-streamed from Oxford again. Earlier in the day, I got an email, assuring me - again - that it would be recorded, and that it would be available for a week after. Well in that case.. So off I went and booked with Up in the Cheap Seats for Rare Earth Mettle, at the Royal Court.

I stayed on a little to work a little bit extra - so Tube it was, nice and empty, and I was a little late meeting them, outside the theatre. We chatted briefly, and in we went - one of us had booked a balcony seat, but they weren't seating people in the balcony, so she got an upgrade to the stalls! For me, I'd got the outmost seat on my side of the slips, and when I got there, there was no-one inside me - although a few did come later. But it wasn't crowded, certainly.

You can just about see a string, hanging vertically. That's attached to a large, transparent ball, housed in a trapdoor at the start, which, when the play starts, is raised and set swinging. Which set off my pendulaphobia - I'm very, very glad I wasn't sat nearer the stage. As it was, I was trying to find other things to look at..

Anyway, I guess this is supposed to be representative of Foucault's Pendulum. It's also leaking sand - indicative of time running out? And although the actors come on, and move scenery, around the swinging pendulum, it's not too long before the swinging decreases, and it's drawn into the rafters. Couldn't come soon enough for me.

But it wasn't long until I forgot all about it. This is TERRIFIC. Set on the salt flats of Bolivia, we have a local man - his wife has died, and he lives there with his teenage daughter, who's sick. An English doctor (Genevieve O' Reilly) cares for her. And one day, an irritating American - from California, to be precise - arrives and wants to buy the old train that this man lives in: and the ground underneath. These aren't the only visitors, mind - a politician (Jaye Griffiths) shows up, claiming she knew this man's late wife.. he's a popular chap.

Well, not really, It all has more to do with the lithium, available in enormous quantities under the salt. That American wants to make electric car batteries out of it, save the planet. Even the doctor has an ulterior motive for being there - she wants to put small quantities in the drinking water, improve people's mental health. And of course, the politician wants what they all want.. she sees this valuable commodity as a way of improving her hold on power.

Not that anything in this superbly written play is how it seems. The script absolutely sparkles - this is the cleverest play I've seen in a long while. It's a long one - and not everyone in the theatre lasted the course - but our group agreed that we really didn't feel the time passing. It's jam-packed with plot twists, snappy dialogue - the American really reminded me of one of the bosses in my company, and the corporate scenes with him (and his exasperated board members) are the funniest. Indeed, the opening scene is hilarious, where he's supposed to be communicating in pidgin Spanish with the Bolivian man. Having everything in English for us brings home how stupid he sounds to the Spanish-speaker..

The next scene, where his board are discussing corporate-speak, is just as hilarious (and very well-observed). But then, this play covers everything - climate change, mental health (there's an hilarious quick-fire debate between the doctor and the businessman, in the second half, about the NHS), medical ethics, ethics in politics, in academia, in business.. you won't believe the directions the plot goes in, and you can't anticipate how things will pan out. But it makes for completely absorbing entertainment. Very highly recommended - runs until the 18th of next month.

Google Maps was playing up all day, telling me it "couldn't find a way there". No, but it could if I asked it to get me there in the past.. Ooh, and on the way home, as I took the bus (faster at this time of night than it would have been earlier), it occurred to me - that on the 11th of the 11th, I was taking the #11.. at about 11pm! Beat that.

Took a while to sort tonight's schedule - I wanted to go to a film, but that blasted film list didn't come through until halfway through the afternoon! Well, I had to rush off to go to Naked, a Mike Leigh film at the BFI. They're doing a whole series of his work, apparently. It's not a long journey, so I wasn't worried when the bus didn't come straight away - and indeed, I took my seat at the cinema before several others. Dunno what the deal was with the people behind me, but the kicking and shoving was intense - to the extent that the woman beside me had enough, and when she came back from the loo, sat down the front instead - where there were plenty of spare seats.

Well now, this is a film with really clever dialogue - and being Mike Leigh, it's not exactly cheery. In fact, I'm going to steal the theme of the excellent programme notes that you always get at the BFI, and say that it's a comprehensive study of toxic masculinity. (As topical now as ever.) The main male characters are unredeemable pieces of sh*t. We have the excellent David Thewlis as the main protagonist, a man too clever for his own good, but unable to fit into society, unemployed, disaffected, unwilling to be tied down. And with a very unhealthy attitude towards women - he can charm them into sex, but they always tend to regret it. he comes to London to stay with his ex, Lesley Sharp. Gina McKee plays one of the damaged women he meets. On the other hand, there's the clean-cut, psychopathic toff, who openly bullies the women stupid enough to be charmed by him. The women of the piece mostly end up as victims in one way or another, at best made to feel stupid, and at worst.. 

Well anyway, you have been warned. But through it all, David Thewlis' character retains a humanity that makes us warm to him. It's also patently a commentary on Thatcher's Britain, set in 1980 as it is, and opening with her election. Jeez, if you hadn't lived through it, you'd wonder how anyone could..! This film runs twice a day all week, if you're interested.. and I was glad when my bus came, and I could get out of the cold!

Well, I have to get to bed. Tomorrow is a double-bill with Bucket List London, starting with breakfast in Maria's Market Cafe, followed by a trip to Wellington Arch (two separate events).

The next three days, I'm with my cheap ticket groups. Sunday, I'm at Conway Hall with CT, for a concert by the Coull Quartet.

The following two days are with TAC. On Monday, I'm headed to Whattalife! - part of the Wimbledon Music Festival, which I always end up attending at least once in a year, this is the story of English contralto Kathleen Ferrier. Takes place in St. John's Church, as usual.

On Tuesday, it's comedy - Holier Than Thou is a one-man show about a vicar, playing in the Canal Cafe Theatre.

On Wednesday, back with Invigorate for a pub crawl! (Oops, I mean a tour of historic pubs..) Now, that's also my birthday, so I'm sure I'll get a birthday drink! ;-)

I would have travelled somewhere foreign for my birthday, but well, that's not so much of an option these days. Anyway, I'm taking that day off work - so my boss has suggested birthday drinks for me on Thursday, as we should be back in the office by then. And then I'm back to Ireland for the weekend - it's easier to get Friday flights at the moment!

Film: Incendies

Today, it was promised to rain. And so it did, chucking it down! Perfect day for the cinema then.. unfortunately, when I had cause to check my film list again last night, it had changed almost completely! New films, new times.. well, as long as it's as accurate as possible, I guess! So, top of the list for today was now Incendies, in which a brother and sister, who have grown up in Montréal and whose mother has just died, learn that she has instructed each of them to go in search of their father, whom they'd thought had died, and a brother they didn't know they had! In the Middle East. So this gives them a chance to explore the region, and their own roots.. Showing in the BFI only, and today was the last showing.. Interestingly, the BFI has moved to a first-come first-served, unallocated seating policy. Not sure what the advantage of that is, but the upshot is that I can't see how full a screen is, online! However, knowing how busy the BFI traditionally gets, I decided I'd better book, and I did.

I managed to get out early for once, sheltered with several others under a building outcrop while we waited for our buses. And waited.. and waited.. as the rain got heavier, bus after bus came, and none was mine, the #26 - the Buses Due app kept pushing back its projected arrival time until it had gone so late that it couldn't get me there. And the BFI doesn't admit latecomers, you know! So I ended up settling for the 344 - which I could have taken ages before, and would need a change. Well, at least now I was on the move. And wouldn't you know it, as I got off and rounded the corner, my next bus was taking on passengers! Sadly, the stop was a way off, and the driver wasn't paying attention - I was literally hurrying along the side when the door closed and it pulled off. Had to wait 20 minutes for the next one!

Well, it was only a short second journey, and I did actually make it - with just minutes to spare. Just as well, too, that I remembered that NFT3, where this was showing, is upstairs, through the door beside the sign for the mezzanine - it isn't signposted. I panted through there - if you have prebooked, you don't have to bother with the box office - and despite having been instructed to show the booking on my phone, I actually just had to give the lady my name, which she checked off a list. As she waved me in, she alerted me to the information fliers, in the holder to my left, which they provide for all their films, and which contain a critical review. Excellent, I didn't think they were doing paper copies any more!

And so, looking around, I identified a few empty seats in a row, where I decided to sit - it wasn't completely full, but mostly, and I'd probably have booked in advance anyway if I had known the number that finally came. Settling into my comfy, plush seat, I didn't have time to read more than half of the flier before the lights went down - and just as well, because he gives away the whole plot! Tsk.. A nice cool breeze wafted over us throughout. Anyway, lights down, and the message on the short introductory film was "Welcome Home"! Aww..

The Middle Eastern country in the film is never named - but events are based on the Lebanese Civil War, and it's filmed in Jordan. The brother isn't too keen at first - seems he wasn't as close to their mother, he thinks her funeral demands are OTT, and he wants nothing to do with any of it. The sister, however, is intrigued, and sets out to solve the mystery by travelling out there. Her story intersects with their mother's, as the scenes flit back and forth, and it can take a minute to figure out which we're dealing with. But my goodness, what's discovered is stunning, unexpected, and devastating - both on a personal level for this brother and sister, and also on a wider level, with what was happening in the country.

Absolutely compelling, sensitively told. Definitely, take a look if you get a chance.

Afterwards, I felt like food - wandering in the most likely direction, I plumped for Pizza Express. They had no problem seating me - and despite the poster we passed, with the massive QR code so you could register with Track n Trace, I wasn't asked to use it. Unlike its Irish equivalent, Cafe Milano, where I was in July. Also unlike there, I was automatically given a physical menu! So, I had garlic bread - and they really need to get with the concept of a starter, because I hadn't finished it before my pizza arrived. I was having the BBQ Burnt Ends, which my friend's fiancé had back in July, and which was so tasty when he shared it with us. And it was just as tasty now - but oh! impossible to finish. I left the very end, to squeeze in some rather good chocolate fudge cake (with a scoop of ice cream). Yum.. and really friendly service to boot. Highly recommend this place, if you're in the area. (A table just down from me had obviously also been to the same film, which they were discussing..)

Had to do some climbing, to get up onto the bridge, to catch a bus home. Funnily enough, there was no trouble getting a #26 this time..!

Tomorrow, back with Up in the Cheap Seats for Shining City, a Conor McPherson play set in Dublin and showing in the Theatre Royal, Stratford East. Brendan Coyle plays a man haunted - he believes literally - by the ghost of his late wife, and the play takes the form of a series of psychiatric sessions that he attends. Well, this is an excellent playwright, so we're in safe hands. Someone's going for food beforehand, but I seriously doubt I'll be able to get there for that.

Film: Mari

Yesterday was film, and the film was Mari. Looked interesting - closest showing to me was in the Curzon Bloomsbury, which was one of two places where it was premiering, courtesy of the BFI. It wasn't booking out until the very last minute, when - finally - just over 50% of seats were booked: so I booked shortly before I headed out, at 5.20pm, an hour before the film. And just nicely made a bus.

It had been raining all day, but decided to take a welcome break as I headed for the cinema. When I entered the lobby, I checked my phone for my e-ticket - I'd got the confirmation email, but the e-tickets come separately. Well wouldn't you know it, the damn thing hadn't arrived! I proceeded downstairs (where all the screens are) - I wasn't sure which screen it was on in, as the confirmation didn't say. The usher at the foot of the first set of stairs asked for my ticket - and I had to go through the palaver of showing him my inbox to prove it hadn't come. So he printed one out for me. Unbelievably, it the e-ticket didn't come through until an hour after the scheduled start time of the film - two hours after the confirmation email! Beware of last-minute online bookings.. with the kerfuffle, I'd accidentally left my handbag in the lobby! It wasn't until I finally got my printed ticket that I remembered it and ran up to get it. I was lucky it was still there.

As it turned out, it was showing in the Renoir - named for the cinema that was here previously. And as usual, lovely Pullman seats.. now, this screen is a bit large for the room it's in, so my seat - towards the edge, third row from the front - was quite a side-on view. My recommendation - sit at the back, as centrally as possible. Mind you, as it turned out, I was sat right behind the people who'd be in a Q+A at the end - including the writer/director and one of the actors. Well, until they decided to sit towards the middle - although most of my row had been booked up, it turned out to be empty; I guess they'd block-booked it for associates of the film, if they'd wanted to come. There was also a survey to fill out - and, organised as they were, they provided pens! So I got a free pen for my troubles.

The film centres on, and opens with, contemporary dance. So I was a little dubious, to start. But I soon found myself rooting for the dancer/choreographer that we see at the beginning, rehearsing a piece, as she discovers that her gran is failing, and she has to leave London - at what is a critical time for her - and take herself down to Dorset. Where she meets her rather estranged family, and it soon becomes apparent that she has nothing in common with them. Her mother is distant, concerned only with the old woman's imminent demise, her sister (half-sister, perhaps, as there's such a difference between them) is absolutely scathing, never losing an opportunity to criticise the dancer's lifestyle, or the fact that she comes down so seldom. Jealous, you might say. The only people she's really close to are her gran (predictably, or there wouldn't be much of a story) and her absent father, who makes one appearance during the film - on the phone - and whose brief conversation causes his estranged wife to throw her eyes to heaven.

Oh, that poor girl. We learned in the Q+A that she's actually a professional dancer, with no acting experience! Awesome performance then, really. And the film is visually stunning, the dance pieces expressing her inner turmoil. It did ring very true as to the experience of a family, thrown together by family drama - indeed, much of it seems to have been based on the writer/director's personal experience. I can see why the idea won the funding for conversion from a short to a feature. Basically, a delightful film, lovely to look at, and quite touching. I was also happy I stayed for the Q+A. Opens officially on the 21st - go see. Oh, and ShowFilmFirst has free tickets to a preview in the BFI itself tomorrow night, if you're free.

Afterwards, had to run the gauntlet of several bicycles on the pavement, both as I left the cinema, and as I made my way to my old flat to move more stuff. Guaranteed, cyclists are the last to obey the rules of the road!

Tonight is my first Meetup in a week - and just like the last Meetup, I'm with London Literary Walks!  This is A Dickens Walk - but as usual, I'm sure that's not all we'll cover. Meeting at The Gladstone Arms - and I see another person I recommended these walks too is coming along, at last! Should be a good evening.

Tomorrow, I'm back for a pub night with Spooky London - we're at The Anchor Tap.

And on Friday, back with Up in the Cheap Seats for Education, Education, Education at Trafalgar Studios. Set in a school in the 90s, it looks like great fun..

Film: Wild Rose & Flamenco - Israel Galván - La Fiesta

Tonight, back with Meetup - London European Club was off to a flamenco show at Sadler's Wells. Olé! Irresistible. Except.. early today, I checked the list of attendees. And who was coming (RSVPed today) but the Crazy Member.. nuts, I thought, I really want to go to that, but the last thing I want to do is spend all night trying to avoid her. So I cancelled my attendance - nothing I could do about the ticket.

Said I'd go to the cinema instead - and it was about time I went to see Wild Rose. It's kind of the country version of A Star Is Born - and I don't like country that much: but it's getting rave reviews, and the trailer looked ok, so.. It's been out a while, and by now the nearest place it was showing was in the BFI; when I checked, it was already mostly sold out! So I booked. Got the last seat that wasn't in the front row. It was a matinée, and I was just in nice time to catch the bus.

Well, I say nice time - it was actually about to pull out from the stop as I rounded the corner. I hate running for buses - wouldn't have bothered at all, but for the lady that ran ahead of me, for whom the driver waited. So, with a sigh, I ran too - she was still fiddling with her card when I got on.

So I got to the cinema even earlier than I predicted. I was a bit peckish, so checked out the café - I see they now have a cake and gelato counter! So gee, I ended up with - yes, yet another slice of lemon drizzle cake. This is becoming a habit. And very nice it was, too - and, I must say, a lot cheaper than that at the Curzon Soho.. By the time I was finished, the cinema was open, and I went in - as usual, missing the program notes they always provide just inside the door, and having to go back for them. It is a nice feature of coming here.

This film, set mostly in an overcast Glasgow, tells the story of wannabe country singer Jessie Buckley, who has a number of things blocking her career plans. There's the fact that she's just out of jail, and wearing an ankle tag that requires her to be at her registered address between 7pm and 7am. There's the fact that she has two small kids. And there's her mother (Dame Julie Walters), who treads a delicate line between trying to make her live up to her responsibilities and trying not to block her hopes and dreams. Mind you, on the other side, there's the rich lady (Sophie Okonedo), for whom she cleans, and who is blown away when she hears her sing, and encourages her any way she can. "Whispering" Bob Harris, the Radio 2 presenter, appears as himself.

See, my reservations about seeing this were as follows; I am not that crazy about country, and thought I'd have an overdose of it. I thought it'd be mawkish. I thought it'd be typically Glaswegianly depressing. And which of those happened? None of the above! She's a beautiful singer, and the songs - some original - are truly moving and perfectly chosen. The kids are sweet, but never too much - and as for it being depressing? Not a bit of it! Yes, the sky is perpetually overcast, and yes, when she does get to Nashville (spoiler!), the skies are blue. But the whole thing is peppered by wit, and her enthusiasm is infectious. Oh, and it's not a typical "A Star Is Born" storyline either - go see, find out for yourselves.

On the bus back, I noticed that they've cleaned off most (not all) of the graffiti on Waterloo Bridge, from the recent Extinction Rebellion protest! I saw much more when I last crossed it, on Wednesday. I decided just to try the Meetup page and see whether there'd been any change - and lo, my nemesis had cancelled her attendance! Well, lovely. I changed my RSVP - as soon as a dodgy internet connection would let me -  got off early, and schlepped up the road to The Old Red Lion Theatre Pub, where the group was to meet.

That dog is quite the celebrity:

His dog bed lies near the back, but he hangs out wherever. Me, I headed to the (smelly) toilet - there's only one, but a sofa is provided outside for the queue. I then got a drink - and when I got to the table, saw the pie menu. I hadn't had time to organise food, with all the change of schedule - so I ordered the "moo" pie (steak and craft ale). They also have "moo & blue" (with cheese), "the free-ranger" (chicken), "Heidi" (vegetarian, with cheese etc.), and "Kevin" (vegan, with mushroom and tomato in a red wine sauce).

A sign outside proclaims these award-winning pies - I dunno about that, but mine was tasty enough. I'm guessing they're not made on the premises - and perhaps mine would've been better but for the stodgy gravy served with it, which probably was. Anyway, it filled the spot. The pub as a whole is quite dark and dingy-looking, but service comes with a smile and the wine is decent. And those who showed up there had a good chat until it was time for the short walk to the theatre.

Most of us were sat in the same row, in the rear of the second circle. But you know, it was a shame to leave so many empty seats in front of us. So we didn't.

Nine rows further forward, and maybe over twice the price. Nice! As was remarked during our chat, you don't expect conventionality - and sure enough, this was flamenco with a difference. Modelled, apparently, on what flamenco performers get up to after the show, it was a deconstruction of flamenco. Some dancers had the costume, some sang, some danced, some played guitar. Almost no-one coordinated what they were doing with anyone else. And towards the end, it got - literally as well as metaphorically - dark: perhaps an exploration of the darker side of the music.

Predictably, it received a mixed response. I noticed a couple of audience members leave at one point. Some of our group absolutely hated it. Me.. I appreciated the bits of familiar flamenco that I heard and saw. There was a lot of flamenco-style clapping, which I happily closed my eyes and listened to. There was some very accomplished dancing, and some truly amazing singing. I had had enough as the end drew near - to be fair, that coincided with a great lack of any traditional elements at all to focus on. And as I remarked at the end, if that's what they get up to after a show, I pity whoever has to clean up after them; the stage was a mess! Anyway, it was great to see everyone. Delighted I could go. That'll be my last Meetup for a while.

Tomorrow, our team social continues, though our team is no more! A large group of employees - past, present, and present but considering their options, but all friends - is headed to the excellent Le Sacré Coeur, which I ate at a while ago. Should be a great night.

On Tuesday, back with my cheap ticket club for Omid Singh, back at 2 Northdown.

On Wednesday, the Crick Crack Club is back with their Archetype Series - this one is Rebels & Heroes, which should provide plenty of material. Participants this time are Hugh Lupton, Jan Blake, and Nell Phoenix - and the customary newcomer. And as usual, there'll be a Q+A. An excellent night is expected! It's back at Rich Mix.

On Thursday, we're having yet another set of drinks to celebrate our recent redundancies - one of our number was on holiday for the last lot! So we'll be back at The Draft House, I think. Then I'm back to Ireland for the Bank Holiday weekend.

On the 7th, I'm treating myself to a trip back to the Globe! It's been so long.. Henry IV, Part I is the occasion. Hope the weather's warmed up a bit, or I might be renting one of their cosy blankets..

And the next three days are all with Up in the Cheap Seats. On the 8th, we're at the Royal Opera House for a mixed programme by the Royal Ballet.

On the 9th, we're back to Sadler's Wells for the opening night of Yang Liping's Rite of Spring.

And on the 10th - for something completely different - we're off to the Park Theatre for The Last Temptation of Boris Johnson! Brexit, of course, should feature strongly..

Film: Burning

Tonight, I thought of catching up with Burning. You know, the film I missed last week because we were sampling the office wine? Anyway, not showing in the Vue Islington anymore - I had to head down to the BFI for it. Not overbooked at first, but I said I'd keep an eye on it.

Sure enough, during the afternoon it showed as mostly sold, so I booked. Glad to see they have e-tickets at last - it's been such a nightmare, arriving in the nick of time at the BFI and having to queue at an always-busy box office. Heading out, I again made the bus by virtue of running for it - a bit less cardiac-threatening than last time. And for a driver that seemed in a dreadful hurry when I got on - I thought I'd fall, he took off at such a pace - as soon as he got closer to the centre of town, he slowed practically to a crawl. Must've been ahead of schedule. Safely seated by this stage, I was tutting and checking the time constantly - but we still made great time, and I arrived with about five minutes to spare, entering by the river entrance, which is closer to NFT2, where I was headed.

I see they have a red neon sign now, that reads "Box Office & Cinemas". Informative, but not very decorative. Made my way straight to the screen and took my seat - I was on the inside of the row, and delighted to see that nobody had arrived before me, so I didn't have to push my way in. And then I realised that I'd forgotten to pick up a factsheet - the BFI provides them for all the films it shows, and this was no exception. By the time I got back, there was someone on the end of the row - but you know, for a row that showed online as fully booked outside of me, the seats remained mostly empty! Perhaps they arrived late - the BFI won't let you in if you arrive more than 15 minutes after the advertised start time.

This is a Korean film - mostly takes place in a city called Paju, very close to the border. In fact, the story's main character lives in a place where he can sit outside and listen to the North Korean daily political broadcasts, made on loudspeakers! He's just graduated with a qualification in creative writing, and is working on his first novel and taking casual jobs, when he runs into someone who claims to have grown up with him - she's apparently had plastic surgery, so he doesn't recognise her. But what the hey - she's a winsome lass, and indeed a pleasure to watch onscreen - a bit ditsy, but very attractive and very sweet. They hook up briefly - which is enough to persuade him to look after her cat while she's away.

When she comes back, however, she has company - a slick operator, with a Porsche and a swish apartment in Gangnam. (Damn, that's a place!) Turns out to be a very upmarket area of Seoul. Cooks, listens to classical music, and affects an air of superiority. And now she seems to be into him, instead. Ooh, jealous.. Things take a twist, however, when she vanishes, and her landlady says she doesn't allow pets, so there couldn't have been one there in the first place. What will this aspiring novelist make of all this..?

It's a long film, which would put some people off - but it's a damn good one, and I never once felt it was too long. The frequent silent scenes are used to great effect. And with great emphasis on the three principal characters, as our rather clueless protagonist is wrong-footed by the city slicker and the girl flits between them, we really start to care. There's a sense of unreality about the whole thing, as we're never quite sure what the facts are - about her background, for instance, as much as her disappearance! Terrific atmosphere, quite compelling. Highly recommended.

The bus home was full of loud people talking on their phones. Tomorrow, I might have gone with Up in the Cheap Seats (UITCS) to Sadler's Wells, for Tanztheater Wuppertal Pina Bausch - they were excellent before. Unfortunately, they were completely sold out by the time I got around to thinking of it. And the London European Club (LEC) is off to an interesting-sounding talk called Refugia: Solving the Problem of Mass Displacement at the LSE - but you know, it's on early, first come first served, and I have so much to do.. I couldn't be bothered rushing. Instead, I'm thinking film again - and the candidate is an interesting-sounding documentary called Three Identical Strangers, about triplets, separated at birth, who met by chance in later life. Only showing at the Curzon Bloomsbury.

I was thinking of film for the rest of the week, too - but the offerings at the top of the list weren't that attractive. Instead, the World Music Meetup is coming to my rescue with three gigs in a row at The London Jukebox, not so far away. Having been to a gig with this organiser before, I'm not expecting to meet anyone - but the music sounds good to me. Friday is Rum Buffalo.

Saturday is Mario Bakuna and Edmundo Carneiro - and is seated, happily.

Sunday is Roda de Choro with Alvorada.

Monday and Tuesday, I'm back with UITCS. Monday is Tartuffe, by Molière, at the National.

Tuesday is a show called Bare: A Pop Opera, at The Sainsbury Theatre.

Next Wednesday, I'm back with Let's Do This for another meal at Tas, meeting at The George again beforehand.

On the 21st, I'd have loved to go with UITCS for Season 7, the last of Pinter at the Pinter. Unfortunately, when I checked, although they still had tickets - they were either standing or a minimum price of £93 for that night. Nah, don't really want to go that badly! Never mind, the LEC is off to a concert of French Chansons: The Sparrows of Paris, at Old Mary's. That's a most acceptable choice! And then I'm back to Ireland at the weekend again.

Film: Be Natural

Last night, film again - booked in advance though, because they were already selling out. It's part of the London Film Festival at the BFI - Be Natural is the story of Alice Guy - Blaché, the first female filmmaker, and is narrated by Jodie Foster.

It was on late, so I had plenty of time to get there - unfortunately, I just missed my bus, which took off as I was running for it! Never mind, I was early, so I did get there in time, in the end. Remembered, as I was queueing at the desk for my ticket, that all they need is your payment card, so had that ready - and despite being behind an elderly gent with a cane going up the stairs (well, he was doing a fair lick), I did make it before lights down. Which is more than the lady in front of me, who arrived late and - I guess it didn't suit her - left early.

Anyway, was I ever glad I went to this. It's an utterly fascinating story, and a pacey film, made by someone with an obvious passion for the subject. Jodie Foster is also an executive producer. As is Robert Redford. As was the late Hugh Hefner, apparently - seems he did a lot for women, behind the scenes!

It starts out with a voxpop from several celebrities in the film industry, confirming that they'd never heard of her. Then we launch into the absorbing story of a young lady in the late nineteenth century, growing up in Paris, who worked as a secretary for Gaumont, the famous photographer. Well, he got an invite to a premiere by the Lumière brothers of their new-fangled cinematograph; he brought her along, and.. it was love at first sight. He started a film company, in which she became a writer, producer, and director - the first woman ever to direct film. In short, she fell for someone else who worked for the company, married him, and they moved to the States, where they set up their own film studio.

In her time - as we learned in the Q+A afterwards with the director (writer/producer) of this film - she made in the order of 1000 films. When she died, she thought only three had survived - now they've found 132 or so. It is amazing to hear how she pioneered close-ups and colour tinting - she was the first to synchronise visuals and sound! Various people remarked how modern her films seem - the clips shown were certainly enjoyable. The title of this film stems from a big sign she kept in her studios, reminding actors to act naturally..

And yet. And yet she was completely forgotten. Her husband turned out to be a liability, losing a fortune in the stock market crash - the business ultimately went bankrupt. He moved out West - with many other filmmakers, driven out of the original centre of filmmaking in Fort Lee, New Jersey, by the greedy monopoly of Thomas Edison, who was charging everyone exorbitant licence fees to use his inventions. Hence the foundation of the film industry in California! For her part, she returned to France - where she was, predictably, ignored, and never made a film again.. In later years, she was written out of film histories, her films scandalously credited to others who had worked on them in a more minor capacity. Her films, however, influenced later filmmakers like Eisenstein and Hitchcock. 

On top of educating us about a forgotten - and important - part of film history, the film is a terrific detective story, considering there was so little available information about her! The filmmakers go in search of her family, with hilarious conference calls where they try to piece together who's who in old photos. Then there's the digging out of old film stock - which they have to go around the houses just to be able to view! Absolutely enthralling stuff - recommended to all. The Q+A afterwards was illuminating - it started with an archivist, who praised her on account of the sheer amount of work that he confirmed it takes to do these things. And it ended with an irate older man, complaining that organisations like the BFI don't do enough to make these old archives available to the public. Well, as she said, it all comes down to money - these things are expensive.

For her part, she's still seeking distribution for this project, which was 10 years in the making. Showing again on the 21st in the Ciné Lumière - well worth a look.

No blogging last night - I wanted to be up early today to watch the royal wedding! Tonight, I'm back to Ireland for the weekend, again. On Monday, back with North London Friends for The Wild Duck, by Ibsen, at the Almeida. I wasn't in time to get one of their tickets, so booked my own - what the hey. My last proper Meetup of the month..

On Tuesday, comedy with Ahir Shah at Soho Theatre.

On Wednesday, a real dose of nostalgia - Mayerling ballet, at the Opera House. My favourite ballet, this was also the last event we attended here with the Man with the Hat. And the second last event ever. At least it'll be less evocative since, for once, I'm sitting facing full-on! He always had us in the slips, so I haven't faced the Opera House stage since I started with his groups! I'd watch it blindfolded just to have him back again, though. We miss you, MwtH.

On Thursday - why, I'm off to Manchester. For U2, unsurprisingly. Yes, I get busier around now as they come around these parts. Taking the train that evening - it was the cheapest, and so much handier than having to make my way to and from airports and watch what I pack! I should arrive walking distance from my hotel, Roomzzz Corn Exchange, which itself is walking distance from the venue, the Manchester Arena. And right beside the shopping centre, apparently! That could be handy.. if only to buy provisions, as this is an aparthotel, so I can cater for myself.

The concerts themselves are next Friday and the 20th, and I'm expecting a more enthusiastic audience than my section last Monday! Really, who'd believe such apathy from a U2 crowd?! Ironically, the English concerts are the only ones whose tickets are being posted to me - and would you believe it, what with booking them in January and moving in June, I completely forgot to make the connection. So I forgot to update my address with Ticketmaster (TM). Just remembered recently, by which time it seems they'd already been posted. I've contacted my old flatmates, but the only response I got was from one who's also moved out - happily, TM says, if I contact them next week, they'll void the old tickets and issue new ones that I can pick up at the box office. There's always some palaver on a U2 tour, and this isn't the first time I've had to pick up my tickets in Manchester!! Outside of England, they're all e-tickets..

I take the train back on the 21st. Better not leave it too late, as I've actually booked for the Smithfield & Clerkenwell Walk: Guts & Glory, with Walking in London - but more specifically, with Katie of Look Up London! Excellent - I was booked for this in July, but she had to cancel. She's one of the best around. Should be close enough to me, too, and it doesn't start too early. And it being a Funzing event (like all of Walking in London's) I scoured my old Funzing discount codes, and discovered that Funzing_Fb20 seems to be working again - for all of them I've recently booked! So, a 20% discount - better than any recently offered on their Facebook page.

On the 22nd, I'm back with the Crick Crack Club for Buddha Babies, again at Soho Theatre. Naturally, not advertised on their Meetup group. I wonder whether that's now defunct, as they have advertised no upcoming events.

On the 23rd & 24th, I don't have to travel so far to see U2 - they're playing the O2 in London. These tickets, I got my address changed in time for, it seems - they're also being posted. Helen is going on the 23rd.. sat in the corporate box, poshly! Nah, I'd rather be closer and sweatier, thanks! I wonder how many of them stand during the show.. I am absolutely mithered with Twickets alerts for ticket offers for these shows!

The 25th is my colleague's last day before he quits for a new life in Stockholm - we're headed out that night. Amazing that I still had that day free when we arranged it!

On the 26th, I fly to Belfast. Yep, U2 again. Told ya. Staying in the Crescent Townhouse, walking distance from the SSE Arena, where the concerts take place on the 27th and 28th. On the 29th, I'm taking the train down to my mother for a week - makes more sense than jetting back and forth to her!

On the 5th, I'm back up to Dublin. U2 again, dont'cha know? Staying in the Clayton again, which is a hop, skip and jump from the 3Arena, where there are concerts on the 5th and 6th. Would you believe, not even I could swing a ticket for the 5th - well, I'll just rock up on the day, and hopefully I can get something at the box office. I have heard of such things happening. I've had stranger things happen!

On the 7th, I fly back to London (BA) - purely so I can work on the 8th, before flying back to Dublin that night! Was supposed to be Cityjet, but they've now ended their flight schedule after this month - so now I'm going Ryanair. Same hotel, same venue, same band - on the 9th and 10th. There's a free tour of Windmill Lane Studios on the 9th - open to U2 concert ticket holders only. Registration required. I fly back on the 11th, exhausted, and finished with U2 concerts for the year!

On the 12th of next month, I booked for Macbeth, at the Wanamaker Playhouse. And then Let's Do This finally posted that date for the Shirt Tail Stompers at Wilton's - well, I couldn't miss that! Eh, anyone want a spare ticket for Macbeth?

On the 13th, we have our monthly team outing - probably just the two of us, but hey.

On the 14th, back with Up in the Cheap Seats (UITCS) at last for Love Lies Bleeding, at the Print Room at the Coronet. Got my ticket from London Theatre Direct.

On the 15th, I'm going to try the Seven Deadly Sins Pub Naughty History Tour. Walking in London again, so discounted again! Then I'm back to Ireland again for the weekend.

On the 19th, News of the Strange, from the Crick Crack Club, at Soho Theatre.

On the 20th, back with UITCS for Pinter at the Pinter - Pinter plays at the Pinter Theatre. Two long ones on this occasion - this is Programme Four: Moonlight & Night School.

On the 21st, back at last with The London Jazz Meetup, who are off to the London Jazz Festival for a concert by the Faraj Suleiman Quartet at King's Place. UK premiere, apparently!

On the 22nd, with UITCS at the Garrick for Don Quixote. The only cheap tickets left for this were terrible, so I went a bit upmarket. A bit - I'm still behind a pillar!

On the 23rd, I'm on a Paranormal Activity Tour - ooh! Now, for this one, we get ghost-hunting equipment, which could make it interesting - I don't fancy the dowsing rods, myself, but we'll see. Walking in London, again. Discounted, again. And this was after my loyalty discount - so I got it at better than half price! which is good, considering the price.

On the 24th, I'm off on my own to see A Small Place, at the Gate.

On the 25th, back at last to Winter Wonderland! That evening, I'm off to Cirque Berserk - an annual tradition for me. The latest show is the cheapest, so that's the one I booked.

On the 26th, I'm back with UITCS for Programme Three of Pinter at the Pinter - Landscape / A Kind of Alaska / Monologue.

On the 27th, I'm going to see Company, by Sondheim, at the Gielgud. No tickets available for the upper levels on the official site - they must all have been bought up by resellers! Cheapest I found was with OfficialLondonTheatre, run by See Tickets.

On the 28th, I'm with Walking in London again (and the same discount) for the Haunted London Pub Tour.

On the 29th, I'm back with UITCS at the National for Hadestown. Then back to Ireland again for the weekend.

On the 3rd of December, I'm back to the National for I'm Not Running.

On the 4th, I'm off to the Bush, for Drip.

On the 5th, LDN Talks @ Night and London Speaks Sessions (both Funzing). This is a "Winterville" talk on The Science of Santa, where we get the scientific explanation of how he does it. Taking place at The Windmill.

The 6th could be interesting - Hazel of Walks, Talks and Treasure Hunts, London Guided Walks (and, indeed, Walking in London) has a Christmas Carol Tour. Now, the last two events I booked with her turned out to be no-shows.. the first might not have been her fault, as she was advertising someone else's event, but the second, she just missed the ball on and left three of us standing on a street corner. We shall see whether this event happens, I guess! Now, it's technically more expensive if you book on Funzing - but if you have my discount ;-) it comes down to the same price she charges on her own site, without the booking fee! So I did it that way.

On the 7th, back with UITCS at the Royal Court, for The Cane. Got the very last ticket, phew!

On the 8th, with them again at the Orange Tree Theatre for The Double Dealer.

On the 9th, the Crick Crack Club is back at the British Museum for I Know Not, an afternoon of Sufi legend.

On the 10th, 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!

And on the 11th of December, I'm going with North London Friends to The Convert, at the Young Vic. Discounted top-price seats, it seems!