Play: Barber Shop Chronicles

Tonight, back with Up in the Cheap Seats (UITCS) for Barber Shop Chronicles at the Roundhouse. A National Theatre co-production, apparently. I didn't leave as early as I should have, but we were to meet well in advance of showtime anyway - and going by bus, as I did, this is a long, long journey. At least I got a seat this time! However, it was hardly a relaxing journey, with the driver leaning heavily and frequently on the brake - what my mother would call a "brake driver". A jerky start to the evening!

At the entrance to the venue, an idiot doorman was telling people who'd brought tickets on their phones that they'd have to go and get "real" tickets at the box office. Happily, the queue for the theatre side (there's a cinema here too) wasn't very long, so it didn't take me long to speak to someone there - who confirmed that no, of course I didn't need another ticket.

The theatre is upstairs, as is the bar where we were to meet. I didn't see the group as I entered, but did spot an outside section that looked attractive - and I figured that, if they had any sense, that was where they'd be. Sure enough, they were - at a long table under a marquee. Unfortunately, there weren't enough seats for us all - but we had a nice chat before we went in.

Technically, I was sat behind the stage - but it's performed in the round, so that doesn't matter. I'll tell you this though, it was pretty chilly in there, the aircon turned up too high. And the seats aren't too comfortable, for this two-hour production, without interval. Ignore the notices about no readmittance, though - a steady stream of people passed in and out near me, all night.

It's only through reading about it afterwards that I found out a bit more about what this is actually about. I'm afraid I spent most of the evening in a fug of ignorance - mainly caused by the confusion of different accents, which caused me to lose most of what was being said. Turns out that it's set over one day, in six different cities - from London, all the way south through Africa, to Johannesburg. Set entirely in barber shops, it's an entirely male cast - and as someone remarked afterwards, as we met briefly outside, it's unusual in presenting male voices, and in presenting African voices and stories.

My ears did prick up when I heard someone reference Lagos - but in general, I hadn't a notion that we were hopping around from city to city. The only other clue I had was when one barber mentioned that he lived in Peckham. And since I didn't know we were city-hopping, that only confused me more.. Similarly, for all that the audience were laughing uproariously, I honestly, generally, hadn't a clue what had just been said. And when I did hear, I generally didn't think it was funny at all - only one joke all night hit the mark with me. So, dearie me, I didn't really connect with it at all - the discussion outside afterwards was much more interesting. The best part of the show, for me, were the scene changes, which were done to music. (They let audience members on stage before the show starts, too, and take selfies with them in the barbers' chairs while pop music pumps out around them.)

So, caveat emptor - if you're not familiar with African accents, this is probably one to avoid. Runs till the 24th - but I wish I'd just stayed at the office and got more work done. I'd feel better, and have had a better night.

Tomorrow, a group called Get Out of London is off to Stratford-upon-Avon. Ooh, I thought, that sounds nice - but they're leaving ridiculously early, and coming back the same evening. It being a Saturday, I thought it'd be much nicer to head off at a more civilised hour and stay the night! So that's what I'm doing. Booked a nice, cheap advance train ticket and a night at the Doubletree by Hilton - and because I booked with Expedia, I got a nice discount, on account of all those U2 trips I've been booking with them lately! It's very near the station, which will be convenient. Handily enough, my guide book to England didn't get thrown out in the recent move - and reading it, I might have missed a trick; seems the Shakespeare Hotel is an olde-fashioned type of establishment, and might have been nice. Never mind, it might just be noisy. Only thing is, I just on Monday got a delivery slip for a missed delivery, which I have to pick up at the sorting office - which isn't close to me! And the only real window I have to pick that up - is tomorrow morning. And let's not forget the cycle ride through London this weekend, which means a lot of central roads are closed, so I'd better take the Tube. Just as well I didn't book too early a train - for that price, I have to take a specific one!

Of course, I've been busy booking other things too - such as a "full-story" ticket to all the five houses associated with Shakespeare (much better value than individual tickets: I pick it up when I get there - valid for a year); a couple of them are a bit far-flung, but I believe the hop-on, hop-off city sightseeing bus covers them all. So I've booked a 24-hour ticket for that too - cheaper on that website. (Valid for three months after booking, and for 24 hours after first use. Cancellable up to 48 hours beforehand. But I had to get a co-worker to print the ticket for me - they only accept paper confirmations! and I still can't get the office printer to work.) And, of course - considering what I'm like - I've booked myself into an RSC production that night, at the Swan. It's not Shakespeare, but it is a period play; Venice Preserved is a Restoration thriller.

I'll come back on Sunday evening. On Monday, back with UITCS for Pilgrims, at the Orange Tree Theatre.

On Tuesday, I'm off to the Bunker..  they have a program of plays by black writers, called This is Black, and that day, I'm seeing Double Bill 2 (they run on alternate days).

On Wednesday, London Literary Walks has a walk called Moby Dick (ahoy!). It's around Greenland Dock.

On Thursday, I'm at a UITCS double bill at the Orange Tree! The Mikvah Project and Eight Gigabytes of Hardcore Pornography! (ahem..) Then I'm back to Ireland for the weekend again.

On the 12th, I booked for This is Black, Double Bill 1. But gee, Civilised London (CL) just advertised another night at Wilton's - featuring, on this occasion, the Lucky Dog Jazz Trio. Now, that'll be a blast! So I'm going to that, instead.

On the 13th, back with Anthony's Cultural Events and Walking Activities Group - they're at a free outdoor concert in Canada Square Park, called the Magic of the Movies. Again, I'll be watching the weather.

Now, UITCS is at Matthew Bourne's Romeo and Juliet the same night, at Sadler's Wells - and I was gutted not to get a ticket. But guess what - I got one for the next night! Last seat in the house, in fact.. love Matthew Bourne.

On the 15th, back with The Embers Collective, who are performing Full Moon Stories at Cafe Cairo.

On the 16th, I'm back with the Best Authentic Walking Tours in London (aka Funzing) - for the Sex, Drugs, Sausage Rolls Tour. Unusual for me to find a new walk!

On the 17th, going to see The Doctor, with Juliet Stevenson, at the Almeida. Now, I'd originally booked for this for the 15th, forgetting that The Embers Collective were meeting that day. Can happen when I'm booking lots of stuff. When I realised my mistake, I thought I just wouldn't bother with this - then saw that London Dramatic Arts are going on the 17th! So I switched my ticket to that night, and let them know I was coming too. Now, the organiser is selling tickets for this, and doesn't appreciate competition - or anyone advertising another way to get tickets. Which might be why she deleted the comment I left to explain that I'd be there that night too! I haven't had a message from her either - so I suppose she'll be ignoring me, then. Wouldn't be the first time.

On the 18th, going with CL to the Cartoon Museum - with optional dim sum afterwards. Yes please!

On the 19th, I'm finally going to see Evita, at Regent's Park Open Air Theatre. Never have seen it.

On the 20th, with the London European Club at the Globe - we're going to risk The Comedy of Errors.

And on the 21st, I'm seeing Showtune - an evening of Jerry Herman music - at the Union Theatre.

Opera: Orfeo

The posters for Orfeo have been visible in Underground stations for months. So by the time Helen asked me whether I'd seen them, I was already interested - and she agreed to come. Which is how I came to book us tickets for the opening night, last night in the Roundhouse. Although it's a collaboration with the Opera House, and tickets were available on both websites, I booked with the Roundhouse itself, which had better availability. We booked the cheapest non-restricted-view tickets, second row from the back in the circle.

It occurred to me the day before that we'd need to eat - there is a restaurant in the Roundhouse, but it was completely booked up. Upon investigation, I discovered that there's a Nando's just down the road. Now, I remember attending a gig at the O2 Academy in Brixton and trying unsuccessfully to get a table at the Nando's across the road. So I decided I'd better book this one. No online booking - I rang them up, and booked a table for 6pm.

There was a bus strike yesterday, but it didn't affect us. The Tube didn't seem any busier than normal as a result, either. With a couple of options, we decided to take the District Line to Embankment, then the Northern Line to Chalk Farm, just up the road from the Roundhouse. Easy-peasy.. except you do have to be careful with the Northern Line; there are several different branches, so you need to make sure you're on the correct one. Anyway, we got seats the whole way, after Earl's Court. Much better than the crush we'd have faced on the Overground at that time of day.

At the station, (very slow) lifts take you to the surface. They're a bit unnerving, because there doesn't seem to be any indication that the lift is coming. Finally, when you have made the ascent, the "EXIT" sign is on the opposite side to where you exit.. well, we were soon out on the road, and a left out of the station and a right onto Chalk Farm Road soon bring you to the Roundhouse. Nando's is a bit past that, on the other side of the road.

Well, far from the crowded scenes I remembered from Brixton, there weren't many people there at all yet. We passed a very empty Italian restaurant, and kept going to Nando's. Which.. was just as empty. We explained to the waiter that greeted us that we'd booked a table. I don't blame him for looking confused. :-) Anyway, he showed us to a table and we chose. The procedure at Nando's is that you get a table, choose, then order and pay at the till. They give you your drink at that point - or an empty glass if you've ordered a drink that comes from the dispenser - refills of those are free. Now, I got him to swipe my loyalty card first, because I was sure I had earned something for free. Sure enough, I had. Unfortunately, what I really wanted - "Butterfly chicken" - isn't on the free list. So he ran through the entire list of what was.. I finally chose a 1/2 chicken and two sides, and only had to pay for my wine. And we were both very well fed. Helen, by the way, was very appreciative of the rosé she chose, which was second on the list.

We were too full for dessert, which means we were finished nice and early, and made our way back to the Roundhouse. The crowds were beginning to gather now, and there was a small queue for the cloakroom. We made our way upstairs, visited the toilets, and by that time the doors were open and we took our seats.

It's curious, this idea of "non-restricted" view, as the venue is in the round, with supporting columns. Unless you're sitting between the columns and the stage, they're going to block your view from some point, regardless where you sit!

It took me a while to spot the surtitles (circled below):

The orchestra was sitting at the back of the stage, and as well as two harpsichords, and a regular string and brass section, sported three long-necked guitar-like instruments. Upon researching this, they seem to have been lutes.. oddly, I didn't think they looked like that. But I may have been thinking of the lyre.

This production is stunningly visual. In the above photo, you can just see the base of the ramp leading down to the stage, from the right. This is used extensively throughout the show, not just for people to process up and down, but also as an extension of the stage, on which they're happy to stop and sing. Frankly, from where we sat, we had a terrific view of everything, and I would have been sorry to have had a more expensive seat, near the stage, and miss most of what was happening on the ramp. The only time we had a problem with the view was in the second half of the first act, when they're celebrating the wedding of Orfeo and Eurydice, and these blasted long green ribbons are unfurled from the ceiling to ring the stage. All very nice, but they did somewhat get in the way of the surtitles. Never mind - it is in English, and we could see the other surtitle board (at an angle). And bits of the one we were supposed to be reading! Anyway, they cleared them away at the end of the first act.

We had some entertainment just coming up to the interval, in the form of a lady near us, but in the row behind, who apparently spent much of the first act talking (presumably to her companion), to the annoyance of the man - with the standing ticket - who was positioned behind her. Who proceeded to annoy her in some way - maybe by asking her to be quiet. Anyway, the first we heard of it was when she quite loudly said, "Would you stop bothering me now?!"

Shortly afterwards, we were in the interval. After some more arguing between them, evidently without resolution, she went off in one direction to complain to one usher, the man behind her went in the other direction to complain to another. He then disappeared, and she and her companion decided a resolution would be to move into our row, which up to then was mostly empty. Unfortunately for them, all those missing folks whose seats they were, and must have been late and had to wait in the bar for the first half, came back looking for their seats at the interval. I actually believe she tried to brazen it out and stay where she was, but ultimately they had to go back to where they'd come from. Sensibly, her standing nemesis had taken himself off elsewhere - I think I saw him at the other end of the theatre in the second half.

Well then, what was the show like..? I love Baroque opera - that's a good start. Now, it can be a bit slow for modern audiences - in this case, that's mitigated by a troupe of dancers - apparently schoolchildren, different groups on different dates. Somebody took a great deal of care with the staging of this: the dancers are brilliantly used. During the wedding, they're leaping and cavorting - they're most effectively used in the second act, however, when they form a kind of human pyramid to create the door to the underworld, and at other times roll along the floor in blue/grey uniform, to represent the raging river Acheron. Most strikingly, when Orfeo is attempting to lead Eurydice back to the land of the living, they roll along the floor in a line between them, presenting a very visible barrier keeping them apart.

The singing is superb, and Orfeo presents a haggard figure, happy so briefly at the beginning, before his love is snatched from him and he begins the journey to Hades. The ramp works beautifully as the climb that must be made to escape back to the world of sunlight, simply evoked by having a bright spotlight at the top. And the last scene is worthy of a painting. Absolutely stunning. And I must give due credit to both Orfeo and Eurydice, who must spend periods suspended in a harnesss hanging from the ceiling. They're supported under armpits and knees - can't be comfortable. And he has to do some singing in that position! Ay-ay..

Highly recommended, if you like Baroque music. Runs until the 24th, about every couple of days. The Opera House website is sold out, but the Roundhouse website has limited availability - principally standing, a few seats available in the stalls on certain days.

After we trudged out through a very slowly moving crowd, Helen took the Northern line straight to Waterloo for her train, and got an earlier one than she'd anticipated. And the rain held off for me to get home - just too late to blog. Hence the delay.

Tonight, I have a gig at the Lexington, near King's Cross. They're running a week-long event - The Line of Best Fit - to showcase up-and-coming acts. Particularly interested in Jagaara. I still have to watch something by the act on before them, see whether I fancy going early to listen to them as well. Someone from work was also thinking of going, but I hear it's sold out now!

Tomorrow: The Magic Hour. A Victorian-style magic show, with spirit messages and everything. I like the look of the venue too - the Grand Royale, a glorious old Victorian hotel near Hyde Park.

After I get back from Ireland, on Monday, I've booked to go to a play in the only theatre within walking distance of me - the Finborough. The play is called Pig Girl, and the theatre is so small that it's always advisable to book.

Concert: Plácido Domingo

Of course, tonight's Plácido Domingo concert was coming from the Roundhouse. But it was part of the iTunes Festival, and tickets were allocated by ballot before I even heard about it, so getting one was impossible. Still, why bother, when it streamed free on iTunes, and you could listen to it in comfort, instead of traipsing all the way across town? (It also gave the representative from the Battersea Cats and Dogs Home a chance to doorstep me. Could they have chosen a more apt charity for me?)

So that's what I've been doing, and indeed, it's just finished. An hour and a half of songs we knew and songs we didn't, beautifully sung. Ladies in evening gowns and gents in tuxedos, in a venue more accustomed to rockers and jeans. Even Plácido's son (also Plácido) took part. A bit weird, seeing the audience standing at a classical concert. But a lovely idea, and a lovely way to spend the evening. And I have got things done tonight, while listening! V handy.

No such respite for the next few days. Tomorrow - Land of Our Fathers in Trafalgar Studios. Thursday - Breeders in the St. James Theatre. Can't link to it just now - there's some problem with the website! On Friday, it's Rudy's Rare Records in the Hackney Empire. And on Saturday, Sequence 8 at Sadler's Wells.

Concert: Sinéad O' Connor

Nuts. You know, I should've checked the stage times, available on the Roundhouse website - but I didn't check them in time. Sinéad O' Connor isn't due to go on until 9. The last Overground outta there that would get me home is just after 11 - and it's a 10-minute walk from the venue. So I'd probably have to leave early. And the weather is, to coin a phrase - "cat" (that's not praise). I got drenched on the way home - not rain, but hail, of all things! I couldn't believe my eyes. And I'm not that mad about her, to go out in those conditions, and come home a complicated way.

So I cut my losses and stayed in.

Tomorrow should be more reliable - I'm heading to another film: The Purge: Anarchy is showing in Shepherd's Bush. Much earlier, much closer, and I'm much keener on it.. On Thursday, I've booked to see another film in the Century of Chinese Cinema at the BFI - this one is called Women From the Lake of Scented Souls. It's mostly sold out, so I said I'd book. Then I'm back to Ireland for the weekend. Next week, and covering the UK bank holiday on the 25th, I'm in Liechtenstein! Well, it makes a change, and I can practice my German.. I'll be based in Malbun, in the Alpenhotel Vogeli.

Acrobatics: La Meute

I originally booked to see La Meute acrobatics troupe last Tuesday, but in the nature of these things, one of them injured himself and the show was cancelled. The following day, they emailed to say that the rest of the shows would be going ahead and ask when I would like to book for. At that particular instant, it was sunny, so I decided not to book for that evening, in case I wanted to do something outdoorsy. (The sun didn't last, but howsoever.) I had already booked things for Thursday and Friday, so I chose today.

It was the first time I'd been to the Roundhouse, so I had to research my trip. Google Maps suggested I take the Overground - always a good option for venues at the other side of the city, and out of the centre; the Overground avoids Zone 1 (the centre), and so avoids the premium charge associated with it. I checked to make sure there were no planned engineering works - these take place at weekends - but all was clear. Good idea to take the Overground though - the Tube stations local to the Roundhouse were closed.

You take the Overground to Kentish Town West, then turn right (under the bridge you can see in Streetview) and continue until you come to Crogsland Road (which I remembered as "Frogsland" with a "C"). Take a left there, and left at the bottom of the road, onto Chalk Farm Road. The Roundhouse is a short distance along, on the other side of the road, and distinguishable by being, eh, round. As it happened, this was the best signposted route I've ever walked in London, with clear signposts directing me to the Roundhouse in one direction (at either end of Crogsland Road) and to the station in the other. Not that I was that worried - as soon as I turned onto Crogsland Road, I could see the distinctive roof of the Roundhouse over the other roofs. And not that far away either.

There was a whole glut of people arriving at the same time as I did. Given that it was about five minutes before scheduled start time, I wasn't surprised when the show was delayed a little. The main space, where this show is being held, is a cavernous, round room with removable tiered seating. Reminded me of a music venue. Ah, those summer days.. I had originally got a seat in the front row; unsurprisingly, I was further back tonight. But, as I suspected, I had a better view in my raised seat tonight - the front row is right under the stage. A bit close for comfort! It was the only cheap stalls ticket left at the time.

The show is scheduled to last about 70 minutes. As well as the dramatic stunts, a couple of things distinguish this from other acrobatics shows I've seen. Firstly, the music. Most of the acrobats play live music at some point or other of the show, and when they're all otherwise engaged, an onstage synthesiser plays a backing track. I do think that circus acts play better with a soundtrack. Particularly when it takes the form of a fellow playing the oboe while balancing on a wooden support trestle.

Secondly, the humour. Well, you have to expect it from a group that chooses to perform acrobatics clad only in towels, wrapped around them in a variety of configurations, mostly resembling nappies. The whole show is sprinkled with gentle humour. They have a madcap approach to their acrobatic stunts, doing amazing things with a swing, a seesaw, some support poles, and mats of various sizes. Many of the stunts involve men landing, full-force, on each other's crotches. Or on joined hands. Ouch! One stunt has a fellow doing a handstand, legs splayed, while another brandishes a pole between the legs of the upside-down man.. and promptly brings it down hard, breaking it in two.

Which brings me to another hazard of the front row.. not only were they warned, tongue-in-cheek, about the dangers of people flying off the swing, but the second half of that pole flew towards the audience. I don't think it reached as far as the front row, but it would be unnerving. And speaking of accidents.. you can see how Tuesday's rehearsal accident happened. This business requires the performers to push the limits ever further, into actual danger. As we could see, after one complex stunt, where everyone was scattered at various parts of the stage, all balancing precariously on something, and all linked by a cable that one of them had spent the last several minutes threading through and around them while the audience was mostly distracted by other stunts. Finally, the cable was in place - and, predictably, pulled. And all came crashing down.

One in particular.. we initially thought that most of them gathering around the back of the stage was part of the act, but it soon became apparent that one - I think it was the guy playing the oboe while balancing on that support, who then had a cable wrapped round him - had injured himself in the fall. They all gathered round, asking him how he was. They warned the technicians, just offstage. Someone got him an ice pack. The house lights came on. I had visions of the show being cancelled, and wondered whether we'd be asked to come back the next night - and whether I could manage it. But he must have told them he'd be all right in a bit - he sat for the next while, playing the oboe, while the others performed, but he was soon up and flinging himself about again. I do think they left something out, because the show was shorter than I expected - but not by much.

Even then, we weren't finished - at one point, they fling themselves, one by one, from the swing onto a mat that is held by another couple of men. For one of them, though, they hold the mat practically vertical, and he hit it hard with his face. Had to be supported when he landed, and was seen to be shaking his head as they took their bows after that one. Jeez, imagine doing that for a living!

They all recovered sufficiently to whip off their towels at the end, Full Monty-style, and give us a lovely view of their toned bums. And then they plunged the stage into darkness so they could scamper off and put on some clothes. As the mc said at the end, give them about fifteen minutes more to tidy themselves, and they'd be available in the café to chat.

Well, I was somewhat relieved, on their behalf, that tomorrow is their last day. They have a performance at 2.30, and some tickets are still available. It's a fun performance, and quite kid-friendly, despite the partial nudity. And I will never cease to be amazed at what some people have to put themselves through for their careers..

Deciding what to do tomorrow was quite a task. Suffice to say that I rejected various things on the grounds of weirdness, or just lack of interest. This left me with films, for the first time this week. And the winner for tomorrow is.. Starred Up, a gritty prison drama. I was quite impressed by the trailer for this. The only name I recognise from it is Rupert Friend. Anyway, the cinemas nearby are showing it only at times that are so late that I'd never be home in time to get to bed in time to have a full night's sleep, and still get up for work next morning. So I'm going to see it in Wandsworth, which isn't that far away, and is showing it an hour earlier. Also, I can get there by bus - so no engineering works to affect me! And how appropriate, given that this is, apparently, the year of the bus..