For today, the Globe was just in touch last week - today only, there was a musical performance, evoking the story of King Lear, in the Wanamaker Playhouse. Had a look at the trailer, liked what I saw - and booked it: the matinee, for better availability. When I checked last night, however, it seemed they hadn't emailed me my ticket - I contacted them, confident they'd set it right. They are quite efficient with this kind of thing. Pity it was the matinee, in a way - I could have done with a rest!
Reassuringly, when I turned on my phone today, I had an email from them to say I could pick it up at the box office. Since I was up a little early though, it was the perfect opportunity to schlep over to the sorting office first, to pick up a small parcel that couldn't be delivered during the week. Too far to walk - unfortunately, the bus I might have taken was hit by roadworks, all this weekend! I ended up walking past my office to catch another.. and after I'd picked up the parcel, I waited for another bus to take me straight to the theatre. In a coup for Google Maps, they correctly predicted it'd be right along - unlike my bus app, which predicted a wait. I guess it can't always be right!
I was glad of its promptness - I didn't have much time to spare. Fought my way through the crowds in the lobby to pick up my ticket, and made my way to the Upper Gallery. Where it's quite easy to tell which door to enter by, but not so much which row to head for! Confusingly, they all seem to be prefaced on the tickets with the letter D - so my row, B, was marked as DB. With so many people having to ask for help from the ushers, you'd think they'd fix this.
It's been a while since I was here, and it's as gorgeous as ever:
Even the musicians' gallery was used, it turned out, by the composer, who gave the odd blast on something that looked like uileann pipes.
The show was advertised as 90 minutes straight through, but it was about 20 minutes before it actually got going, what with an explanatory introduction by the guy who'd conceived the piece. He described how he was inspired by a certain painting retrospective, so he split the performance into several different "paintings", or moods, describing the basic plot. It didn't quite flow linearly mind, with one event happening out of sequence.
But never mind - this is a mood piece. At the beginning of each scene, he describes the motivation for what's happening, before it's actually sung. The performance also incorporates some dance, a few musical instruments, and the odd snippet of text from the play - indeed, that's all that the guy playing Lear gets to do, reciting the odd quote! That, and be a foil for the others.
The music takes the form of a sort of medieval a cappella. And therefore, I loved it - I'm a complete sucker for this! Parts were so beautiful I could have cried. Throughout, it has a rhythmic intensity that utterly surrounds and grabs the audience. Completely stunning - we jumped to our feet at the end in a standing ovation. The actual performance is only about 50 minutes long - the last 20 minutes are taken up with a discussion about ROPKA, the charity that this is in aid of, and for which brochures are left on seats. I didn't bother to stay for that.
It was pretty full - I could only see a few empty seats. Only one more performance, in under an hour at time of writing - for which tickets are already sold out. They're in for a treat! Me, I took myself off to the ever-entertaining giftshop, then next door to Pizza Express - I hadn't had time to eat yet. And when they finally noticed me waiting by the "Please Wait Here" sign, they suggested I head upstairs - and left me to it, to the surprise of the waiter upstairs. Ah well. Upstairs at this Pizza Express, BTW, is usually to be recommended, with one of the best views in London - not so much today though, it was so grey and drizzly. Never mind, the food was excellent - and the chocolate cake, I might add, much better than the last I had, in the Pizza Express near the office..
Walked it off as I made my way home - and it was cold enough (again!) that I was glad I'd brought a coat. Tomorrow, heading with North London Friends to Ballet Flamenco Sara Baras - part of Sadler's Wells' Flamenco Festival. So I'll get more flamenco dancing! The lady hosting is going with some people from her Spanish class, and heading for tapas after - hell, why not? Even if I don't join them, I'll love the show.
And on Monday, back with Up in the Cheap Seats at last, for Peter Gynt at the National. Modern version.
Today, I headed with London Social Detours to a talk on Shakespeare and the Wandering Mind, at the Wanamaker Playhouse - my first trip there in over a year, goodee! The talk sold out a while ago.. Cash payable on the day, so I got some out on the way into work.
I had to leave quite early - our organiser was of the opinion that they would overbook, so instructed us to be there in good time. Which I was, despite my bus being diverted! and then I had to figure out a way across the road.. and then down onto the road under the bridge.. once that was done, it was quite easy, and once I was on Southwark Bridge, I was on familiar territory.
Nice classical music to send me on my way, under Southwark Bridge as usual. I made my way straight to the actual entrance to the playhouse, but as it approached the appointed time, I couldn't see anyone I knew. When I got the Meetup page to work on my phone, I realised she'd said to meet at the front entrance, which sounded as though she meant to meet outside - sure enough, I looked and there they were. When she'd sorted out her dues, there was a kerfuffle as one person wanted to wait for her friends - but the people at the desk were very nice, gave us as many tickets as we needed straight away, and said whoever was left over could get theirs whenever was convenient.
We actually all ended up in the Lower Gallery, a level I'd never been on. Since no-one was beating down the doors to get in, we had a scooch around the gift shop - a terrific range of things related to Macbeth seemed to dominate the stock, but as I remarked to someone, since it isn't Hallowe'en, I didn't feel inspired to buy anything blood-spattered. We were duly let in at 6 - the talk wasn't until half past. And wow, were we close to the stage!
More photos here. We were very early, but in due course the lower two levels filled up - the Upper Gallery seemed to be reserved for staff, although I'm not sure they weren't letting in the overflow by the end. The speaker, Dr. Raphael Lyne, is a Reader in Renaissance Literature at Cambridge, a writer, and a blogger. So, he's as eloquent as you'd expect - it's just a shame that he has such a soothing voice, because after the week I've had, I had to struggle not to drop off! particularly as I was in the front row. Which would have been embarrassing.
His thesis was that a wandering mind has its purpose - events or speeches in a play might spark some train of thought in an audience member, which allows them to perceive the play from a new angle. Someone asked a very interesting question in the subsequent Q+A, along the lines of whether some wandering thought processes are more worthy than others: for instance, is it less acceptable if, instead of considering the play from a new angle, your mind wanders towards lunch? Considering this, he mused that considering your lunch was an example of fitting the play into the structure of your life - so, interesting from that perspective. (Very diplomatic.)
Apart from him and the mc, a third person was on stage, sitting at the back. I wondered at first whether she was there as a sign language interpreter - and wondered even more when she failed to do any interpreting! No, when he took the podium, he explained that when he enquired, he was informed that, owing to the nature of the building, there were no AV facilities whatsoever. However, he was promised that he could "borrow an actor"! So he did, and she was there to read - in a most accomplished manner - selected Shakespearian passages to illustrate his point. I enjoyed her delivery, but did wonder at the point of the passages, to be honest; at first, she was reading from The Tempest, where Prospero wondered whether Miranda was paying attention. I got that connection. However, when he moved to Much Ado About Nothing, and started to consider all the different interpretations of the word "well", as spoken by the different characters.. It was very interesting, but I'm still trying to see the relevance of that.
The Q+A afterwards had some very well-considered questions from the audience, and indeed revealed him as quite a wit. Yes, I can heartily recommend these talks - would happily go to another, especially in this venue.
Afterwards, some of us repaired to The Anchor, which was quite busy - we ended up on the second floor of this maze of a place, where we pushed two tables together and had a drink or two. I was hungry, so ordered food - never again here! except the chips, which were the best I've had in an age. It took a while to come, then the waiter had the misfortune to take it to the wrong end of our table, where he was told that hadn't been ordered, I couldn't get anyone to listen to me as I was trying to grab their attention from across the table, and it therefore took longer than it should have for me to get fed. Sadly, I can't say the wait was worth it, as (apart from the chips) everything on the plate was either tough or tasteless. The staff are friendly though, and I had some fun ordering my second drink, when the French lass behind the bar, who had to have everything repeated, told me that sadly I couldn't pay in cash, it'd have to be card.. because she didn't have the key to the till..
And so home, after a most convivial evening.
Crossing to St. Paul's, I came across an unusual sculpture, which you can walk through, and which frames the cathedral as you do!
And I got there just in time for my bus!
Tomorrow, I'm back to Ireland for the weekend. On Monday, I really didn't see anything on Meetup (again!), so I'm back with my £3.60 club - for safety, I picked the classical concert they're selling cheap tickets for, in Wigmore Hall. Can't really go too far wrong with that.
Tuesday will be interesting - I'm going to Return to the Forbidden Planet, at the Gatehouse. What's most interesting is that I'm signed up with both North London Friends and Up in the Cheap Seats, who are both there that night! Maybe I can introduce them to each other..
On Wednesday, back with Let's Do This for another Turkish meal at TAS. The last was excellent, so they're doing it again! which I think is a very good idea. And the second host is attending, for the first time in ages..
Next Thursday, London Literary Walks is taking us for A Night in Knightsbridge - sure to be as good as ever.
And on the 18th, North London Friends is going to Quiz, at the Noel Coward Theatre. This is based on the true story of an audience member who coughed at the right answers from the multiple-choice selections, in Who Wants to Be a Millionaire?, thus enabling his co-conspirator to take away the top prize. Well, the group have onstage seats, which they sold themselves - they had sold them all when I looked, though, so I booked my own in the rear stalls, with the benefit of a Theatre Token I'd earned with Seatplan reviews. I then let them know I was coming.. no response yet. Hope they're still talking to me after Tuesday..!
Meetup is pretty dead these days, in general. So I was left to my own devices last night - and my own devices took me to the Wanamaker Playhouse, for a Jacobean play called The White Devil. Love that venue.. and for all that the pit seats were described as "restricted view" - rubbish! I've sat there before, and there isn't a better seat in the house. No backs to most of them, mind - but I was happy to take one.
We had an evening meeting, but my coworker obligingly scheduled it a bit earlier, considering my need to get out - and it finished quickly anyway. I might just about have managed a bus - but my shoes were pinching, I didn't fancy the walk to the bus stop - and besides, it would have left me a bit tight, even had all the timings gone to plan. Then again, you can't depend on the traffic at that hour - no, Tube it was, the Jubilee Line less busy than on nights when there's something on in the O2.
My, all the times I've researched the walk from Southwark Station, just in case I hadn't time to take the bus - but this was the first time I actually had to do it. Mind you, I was glad to have GPS tracking my progress - it looked somehow different from Streetview. Got to the venue with 20 minutes to spare, and hit the cafe - I was starving. And what appealed was their "mixed-vegetable" soup (mostly pumpkin, it seemed). There's a £5 minimum on card purchases, but the wine cost that, anyway - I was given a choice of Italian or Spanish, and had the Spanish: and an excellent choice it was, too! Cutlery on the tables, bench-style seating. With the size of the bowl, I didn't think I'd get it finished in time - and it was eye-waveringly hot: but it was delicious, and wouldn't you know, I reached the bottom of the bowl with five minutes to spare.
The theatre was in darkness by the time I went in - indeed, being a true, candlelit performance, it never did get that bright (other venues could take note!). And heavens, they're now allowing photographs to be taken (when the actors aren't on stage, of course). It was too dark then, but I had fun at the interval:
Ah, lovely, isn't it? And during the interval, we got to watch the stage hands cleaning the old wax from the candelabras, replacing the candles and relighting them. Gorgeous, but hard work.
Now, this play is by Webster, and wouldn't you know, it's apparently based on a true story. Rife with the sordid wheelings and dealings of Renaissance Rome, poison featuring heavily (the Italians of the time being notorious for that), it centres on the affair between two aristocrats, both married to others, both planning to kill their spouses. They scheme, they spit hatred at their enemies, and in the second act, they get their comeuppance. (Spoiler): this play has more deaths than the bloodiest of Shakespearian tragedies, but I suppose that's pretty realistic for the time and place we're talking about.
It looks absolutely gorgeous, of course. The costumes are a modern take on period clothing, which I think works well, and the masked ball at the start put me in mind of Eyes Wide Shut. It's acted well, in an enthusiastic style that someone behind me thought was a bit too modern for the material - as he remarked, this would make it more comprehensible to modern audiences. Well, I wasn't around in Renaissance times, but I imagine the gestures wouldn't have been hugely different - and as in any translation, the spirit of the thing is more important than reproducing it verbatim. Speaking of which, the language is original, and could prove tough going at times - most particularly for the poor sign language interpreter, up in the musicians' gallery! As my opinionated neighbour said, how does she manage the Jacobean language? and who can see her up there, anyway? Tricky one.
It's a jolly, bawdy affair, designed to expose the hypocrisies of those who paint themselves as whiter-than-white. It's sweet - there was a young lady just in front of me, who was engrossed in it; I believe she was a bit simple. At the wedding scene at the start of the second act, whom did one of the actors pick out to dance with him, and make a fuss of? Yes, our thrilled young lady. A lovey gesture, and I think it made her night - despite her jumping at all the loud noises throughout, and having to turn away when people started dying. Overall, this play is maybe a combination of a too-complicated script and a too-simple plot for modern audiences, but it's considered a masterpiece of its time, and worth a look if you're into Renaissance drama. Remaining shows tonight and Thursday (limited availability), and Sunday's is sold out.
Bus home, which involved crossing the bridge - a cold walk, but a beautiful one:
And my trip back to Tottenham Court Road (as close as I could get at that time of night, but close enough), is listed as one of the capital's scenic bus routes:
Tonight, I got a cheap ticket to the Caine and Kane comedy show, in Brixton. However, when Funzing (courtesy of London Speaks Sessions and LDN Talks @ Night) advertised a talk on Exploring the Mind of a Psychopath, I was intrigued, cancelled the first and booked this instead. I tried a couple of Funzing codes, and EnjoyFunzing10 worked, to get me 10% off. Also, thank goodness it isn't in blasted Cafe 1001 this time! No, this one I can probably walk to. Assuming this evening's meetings don't run on too long! The title caused some intrigue in the office..
Tomorrow, I'm with London Dramatic Arts (LDAM) to see Don Juan in Soho, with David Tennant, in Wyndham's. Just down Charing Cross Road - nice! There's another London Literary Walk that day, and with a couple of my friends going - but I'll have to pass, I do want to see this! Also, the LDAM organiser has just arranged for us to meet beforehand in Fumo, just down the road. And afterwards, it's back to Brown's, as usual.
Then I'm back to Ireland for Easter - on Friday, my mother and I are off to La Bohème, at the University Concert Hall.
Next Tuesday, back in London, and back with Funzing - London Speaks Sessions, LDN Talks @ Night, and London for a Tenner or Less, for a talk on the Science of Paranormal Activity. Unless I get a better offer, in time - it'd have to be a good one, I'm interested in this!
On the 19th, London Literary Walks is off down Brick Lane - and so am I.
On the 20th, I had my usual placeholder of free comedy in Hammersmith - courtesy of Free Comedy Nights in Hammersmith Wimbledon and Greenwich, and London Live Comedy. Of course - much like Funzing - I usually end up cancelling these, when something better comes up. And lo and behold, it did - Walking Victorian London is off to see Six Islington Squares. Does sound better - costs £12, but I haven't been charged yet.
Ditto the comedy on the 21st - or I may go to the cinema that day. As usual, watch this space..!
On the 22nd, I'm off to see the Naked House Cleaner! Venue to be revealed just the day before.. ooh!
On the 23rd, I'm on a walk of Hampstead Village Highlights, with Walks, Talks and Treasure Hunts. Be good exercise, leading up to my own sponsored walk in September, in aid of Cats Protection.. Helen and I are going as Dick Whittington and his cat. She's the cat.
The 24th, a summery treat! The Man with the Hat is taking both London for Less Than a Tenner and Let's Do London - for less! to the Globe (ah, it's been too long..). For one night only, the Comedy Store Players will regale us with Shakespeare-inspired improv. As usual, London for Less than a Tenner standing in the yard, Let's Do London - for less! in lower gallery seats. Which is where I go - couldn't take standing for that long. Better savour this trip - he only has four more events scheduled thereafter, three of which I'm going to, with no word on whether he'll continue longterm. And if he doesn't (Heaven forbid!), that'll leave a huge, hat-shaped hole in my life..
The 25th, London European Club again - it'll have been a while! They're off to an informal evening of classical music, in Peckham.
The 26th, London Literary Walks is doing the Sloane Ranger.
The 27th, Helen and I are on an Underground treasure hunt, courtesy of Walk, Talks and Treasure Hunts. TFL goodies to be won, it seems.. Then back to Ireland for the bank holiday weekend - which I'd forgotten was a bank holiday, or I'd have stayed over an extra day!
Instead, for 1 May, I've booked The Ferryman, with LDAM, at the Royal Court.
And 2 May, those same three Funzing groups have advertised a talk called Origin of Vampires: Fact or Fiction?
Yeah, tonight I was meant to be headed to Bear Jokes Comedy, in Hackney, with London Live Comedy. But more and more, I didn't feel like heading to Hackney. So when I got an email about cheap tickets (there are a few I'm signed up to..), I decided to see what was on offer. Behold and lo, they had The Inn At Lydda, at the Wanamaker Playhouse.. now, I knew that some of those performances had sold out, but I checked, they had tickets, and I said sod it - and booked.
I adore this venue, and its sister, the Globe. I'd literally go just for the venues themselves. Anyhoo, having the whole day to prepare - I was working from home, handily - I was still rushing, of course. As I approached the pedestrian crossing, the bus was at the stop on the other side. The gods were on my side, though - the same light that allowed us to cross also backed up the traffic - so the bus couldn't go far from the stop - so by the time I got to it, it had hardly moved, and I appealed to the driver, who decided he wasn't going anywhere fast, and let me on. And also the guy racing behind me - so I guess my good deed for the day was holding the bus for him.
I had to sit in the back, but I seem to be getting used to it, and had a pleasant enough journey - it was just getting a bit dark by the time I got there. Got my ticket - for the pit. This was the third time I'd been here, and like the first time, I was in the pit - like the Globe itself, this bit is the closest to the stage; unlike the Globe, it's seated. Backless, like the Globe seats. Upholstered, unlike the Globe. The Man with the Hat was also there, coincidentally (without the Hat tonight), and he and his companion were sat right behind me - fancy, I had the advantage over him, he'd never been before, I discovered! He was greatly impressed by the decor, and I agree. Sadly, this venue completely prohibits photographs, unlike the Globe, which does allow them while performances aren't in progress.. last time I was here, I did manage to snap one off from the gallery, while no-one was looking (no flash, of course):
Again, this time I'd have had to fight the usher, standing right in front of me, to do the same. There are better photos online.
The Inn at Lydda is based, apparently, on a historical text that claims that the Roman Emperor Tiberius, seriously ill, sought the healing powers of Jesus. (The Guardian provided an interesting review, by the way.) I certainly had a great seat - front row, and glad of the legroom; I've complained about that before. It did mean I had to tuck my feet in whenever the actors were making an entrance - again, like the Globe, they tend to enter through the pit. I got swished by several cloaks - this was not a great hardship. Other Globe touches were in evidence - the love of including musical excerpts, and minor audience interaction, principally in the form of someone handing out nibbles at the end of the interval. Not that we got any..
The first half is played primarily for laughs, and left me with the impression that the Inn of the title is the crossroads where every crackpot within the boundaries of civilisation met. The three wise kings, in particular - who've apparently hung around all this time - are a hoot, Caesar himself seems a bit touched in the head, and as for his nephew, Caligula - jeez, he's as bonkers as you'd expect. Some gravity is introduced when Jesus shows up. He, and the only one of his disciples - John - who hangs around, lend the piece a solemnity that contrasts strongly with the excesses of the Romans.
Wait for the second half though (actually slightly longer than the first). Caesar meets Jesus, tragedy ensues, and as disaster seems to strike, watch Caligula transform from the maniac party boy of the first half to a psychopathic leader, delivering a rather stunning speech predicting how the leaders of the future will dwarf anything that Rome does, with their cruelty. A nice balance, then, of comedy and drama - I really enjoyed this. Runs until a week on Saturday - recommended.
On Wednesday, I'm back with London Literary Walks - this one is called the Tate Switch Walk. And on Thursday, I'm delighted to be going on my first pre-Hallowe'en event.. London for a Tenner or Less (NOT the same as the above group), and therefore Funzing, have organised a Ghosts and Executions tour. Cool - I missed the first date of this, but they do tend to repeat them.
What a Shakespearian weekend I had.. first, the ballet of The Winter's Tale on Saturday, then Pericles yesterday! Well, I wasn't going to argue about going to the Wanamaker Playhouse - and I managed to get the last, non-restricted seat. I got no deals, so it wasn't cheap.. but oh, I love this venue!
Was I ever glad it wasn't on until evening, and I could relax all day.. I really needed it. When I looked up how to get there (of course, I've been several times before, but never from Clapham Junction), I was delighted to find a direct bus - the 344, which I've taken to Southwark Playhouse before, keeps going to within a short walk of the Globe (the Wanamaker Playhouse is in the same complex).
Google Maps said I should leave at 6:05 to arrive by 7 - mind you, that would get me there (at their estimate) at 6:53, which I considered a bit tight - never mind potential traffic delays. So I left the house at 5:40 and was delighted when a bus happened along at about 5:50. It was a beautifully sunny evening for a bus ride, and it deposited me (at the Southwark Bridge Road stop) about 6:30 - just nice, and I had time to run to the loo beforehand (downstairs as you go in).
And then I trotted all the way upstairs (I was in the Upper Gallery) to discover the doors weren't even open yet. When they opened, I was to discover that I was in the back row, with a decently central view. I've been here before, but always previously in the pit (ground level). A little stuffy up top, I thought - this building is completely enclosed, unlike the Globe. Wooden seating on benches with cushions - very straight backs weren't terribly comfortable to lean against, and I found it better to lean on the safety rail in front. Nice, wide, handy ledge at the back to store your stuff - a good idea, as there isn't anywhere else. I was glad not to be sat in the musicians' gallery, with the musicians banging away right behind those who had sat there. But it is a gorgeous building - and I managed to snap an illicit photo while they weren't looking; unlike the Globe, which allows photography when performances are not in progress, the Playhouse forbids all photography inside:
It's completely wooden, and beautifully decorated - and unlike other venues, a "candlelit" performance really is that - it's the only lighting, and fabulously atmospheric.
The performers came onstage slightly before time, and the production revealed itself to be in the style of the Globe - plenty of music, traditional-sounding instruments, music and dance to start and end the show. And what a hilarious show it turned out to be, beginning with the narrator, a little old lady who appeared at the start of each act, and had us in stitches with her comical delivery.
It was really intimate, especially the very beginning, when the only lighting was provided by candles the actors themselves held. The main candelabras were lit after that. And gee, you know, the story sounded rather familiar.. methinks this was a favourite plot of Shakespeare's. After all, he did use it for both this and The Winter's Tale - a king believes his wife dead, abandons his baby daughter, then believes her dead, too. And he's left a miserable wreck. BUT the fellow charged with the princess' murder doesn't do it, she's thought to be poor, falls in love with a rich chap - and is reunited with both her parents in the last act, around the time she marries the rich guy. Whee!
And it was great - special praise to Pericles himself, who acted a storm throughout, but had the whole house rolling in the aisles with his reaction, at the end, to discovering his long-lost wife and daughter are alive, and with him again! I had a great time - and it's so great to be back in this venue again. In this year of the 400th anniversary of Shakespeare's death. This shan't be the last I hear of Shakespeare this year, forsooth..
No time to blog last night, as I'm in Guildford today. Tonight, I'm off to my first Meetup with Interesting Talks London - Banged Up Abroad is the subject. Topical, what with the recent parole of an Irish girl convicted of drug trafficking in Peru.. early start, but it's near, so should be ok. A short walk from my old flat, in fact, in The Bolton - an Irish pub I've often passed, but never before entered.
The next two days are Man with the Hat days - tomorrow, Let's Do London - for less! is headed to Southwark Playhouse, for a play called Darknet. Now, I have more sense than to have anything to do with the real Darknet - the closest I've come to it are short horror films on YouTube. (In the course of my regular surfing for short horror films, of which I'm a big fan.) But I'll find this interesting.
On Wednesday, both of the Man with the Hat's groups (Let's Do London - for less! and London for Less Than a Tenner) are off to a show called The Passion of Lady Vendredi, at Soho Theatre - and so am I. This was a recent development - I was originally supposed to be going to Doctor Faustus, with London Dramatic Arts Meetup, but sadly, the organiser's mother-in-law just died (as I found out last weekend) and the funeral is that very day. Works out well for me though - the event has been rescheduled, at a cheaper price, the difference has been refunded to me, and I can now go to both shows! (So I'm going for Less Than a Tenner - 'coz I'm cheap.) The Passion of Lady Vendredi is, apparently, musical theatre, and designed to promote the music of the Lady Vendredi band. And should be interesting.
Thursday, I'm off to a comedy show in King's Cross, with London Live Comedy - unless I change my mind and go to a film - we'll see. Then it's back to Ireland for the weekend, again..
Well, here I am again, back in the Big Smoke! And back to a gruelling schedule - of which more anon. Anyway, tonight's destination was the Wanamaker Playhouse, for the last night of Winter's Tales, which featured a famous actor reading short stories by a famous author, by candlelight. I didn't recognise tonight's actor, who's worked mainly on stage, it seems - but the author was Daphne du Maurier, including her story The Birds, on which the Hitchcock film was based. Enough to get me in the door - but the venue was enough to do that! I'd never been before, and was dying to go.
It's on the same site as the Globe Theatre, and named for the fella that founded them both. Entrance is across the lobby from the entrance to the Globe, so I knew pretty well where I was going. And this venue is one of those that takes longer than you'd think to get to. I know the way, but checked Google maps for the time it would take, and Google Maps actually thought it would take even longer! They had me getting off the Tube at Blackfriars and taking either a boat or bus the rest of the way! Now, I know very well it's quicker to go one stop further on, to Mansion House, and cross the bridge on foot - which I learned from Google Maps, and which I reminded them of. Not that it'll do any good, I'm sure.
Anyway, I left in good time, catching the Tube at West Brompton. The indicator board said the next train wasn't heading my way - but it was lying, as usual, which was handy. And I disembarked at Mansion House, and made the venue with five minutes to spare. Just nice timing. Mind you, as I entered, and took note of where exactly I was going, I was glad I'd booked a seat on the ground floor (the "pit") and didn't have stairs to climb - just so I didn't feel so rushed. The entrance to the pit is just to your left as you enter by the modern door of the Globe complex.
The pit is split on either side of the entrance passageway, and consists of four rows of cushioned, but backless, benches. I'm used to backless benches from the Globe, so that was ok. I discovered that my seat (C8) was right at the end, beside the wood panels that line the passageway, which, at that row, were at such a height that I could rest my elbow on top - which was handy, on occasion. Also, the row curved slightly just there, which gave me a bit of extra room to turn sideways - which was also handy, as the legroom was just a little cramped.
O my, this building is breathtaking! I'm just sorry I couldn't take a photo - I'd been sternly admonished on my way in that photography was STRICTLY prohibited, and there was an usher right in front of me, faced my way. You'll just have to look for some online. I was struck, from the moment I entered, by the fact that everything in there was really made of wood! Well, apart from the cushions, the screws and hinges holding it together, and the candle holders. Yes, you might wonder at the wisdom of having a candlelit event in a wooden building! But the side candles were held in metal sconces, secured to the supporting (wooden) columns by leather straps, and the chandeliers, which also held candles, were iron, by the look of them.
The backdrop to the stage is fabulously ornate, and the whole place, built of a light-coloured wood, looks gorgeous! Especially by candlelight - which was augmented by some soft yellow spotlights in the ceiling. I had time to settle myself nicely, and take out the small bottle of water I'd brought as a precaution, as the damp climate of Ireland has meant I've come back with a slight cough after Christmas. You are allowed to bring drinks in here, as long as they're not in glass containers, and as long as you don't bring food. With the person in front of me not utilising the corner of her bench, I perched it there. And as I waited, the room filled up - I do believe it was sold out.
The stage housed two chairs - a small table beside one, with a carafe and glass of water, and a music stand in front of the other. And in due course, the performers appeared. As well as the lady who was to do the reading, there was a lady who, it turned out, was to play a bit on the violin before and after each story.
As the actor embarked on her excellent reading of the first story, it suddenly struck me that what it most reminded me of was of elocution classes when I was a kid. Or, indeed, exams. Indeed, Daphne du Maurier was one of the writers we recited. How many times did I stand, like that - and I noticed that she was standing the way I'd been taught to stand, with one foot (the right) slightly in front of the other to provide a means of balance - reading text from a folder in my hands, just like that? Not that her elocution was perfect! :-) But the reading was terrific. The first story was The Happy Valley, which I hadn't heard of before, and the second The Birds. And, with musical accompaniment, that was it. Mind you, that was an hour's worth, which is standard for a one-person show. And it never before occurred to me how ominous her stories are! but we only read excerpts in elocution.
My cough behaved itself for The Happy Valley, and I thought I'd gotten away with it. And then I had an exploratory cough while the audience applauded, and that must've woken up my chest, because I found myself desperately trying to stifle a cough during The Birds, of all things! Well, bringing that bottle of water was an act of genius. It's really the only thing to stifle a cough - if it can be stifled. After a tense 10 minutes or so of sipping water constantly every few seconds, then at progressively longer intervals, it subsided for the rest of the show. And I was able to have a proper cough when I got back outside. I'd considered crying off this show because of that cough - I'm so glad I didn't! This was a terrific way to get back into London life. It's just such a pity I missed the other shows in this series. It's so slow-paced, it's a great change from the hustle and bustle of the city.
So, I was finished nice n early, and got a nice shot of St Paul's on the way back to the station. My phone camera does get dazzled by lights, though.. you have to look under the light, to the left:
Mind, I'd have been home earlier if the Tube hadn't decided to take all night. You know, it's interesting - I need a Wimbledon-bound train to get home, but never have I seen one East of Temple! I think some of them must change their destination at some point, and that all Wimbledon-bound trains start off with other destinations. After waiting quite a while, I decided I'd better at least get one that was going to Earl's Court, from where I could walk, if I had to. After a delay of nearly 10 minutes at Gloucester Road, and yet another delay between that and Earl's Court, we finally chugged into the station. Where I had another wait for my Wimbledon train - but it was faster than walking.
Well! After quite a busy Christmas, I had a couple of days free at the end, which I used to, eh, fill up my diary. :-) So, here's what I'm doing for the next week:
Tomorrow: Fascinating Aida at the Queen Elizabeth Hall. I love this act - have seen them on television before, but never live.
Wednesday: a debate on climate change, at King's College. Has the advantage of being free, but you need to book.
Thursday: the ballet of Don Quixote, at the Royal Opera House. Which, you'll remember, is the home of the Royal Ballet. I missed a Time Out offer on this, sadly. Didn't go for the cheapest seats available, but rather for the next price bracket up, which is several rows further forward - I just didn't like the view from the cheaper ones. (The Opera House website is unique in showing a photo of the view from every single seat in the place.)
Friday: a play called 3 Winters, at the National. It's set over three winters, at different periods during the last 100 years, in Croatia.
Saturday: I wanted to go to La Soirée, but only posh seats were left, so I skipped it. Instead, I'm going to a concert by the Pink Singers - Europe's longest standing LGBT choir. In Cadogan Hall.
Sunday: the last night of Potted Sherlock - all the Sherlock Holmes stories condensed into 80 minutes. In the Vaudeville Theatre. This is the only one of all these shows I got a deal for - I knocked a few quid off with lovetheatre.com.
Monday: The RSC production of Henry IV Part I, in the Barbican.
Tuesday: the opera Orfeo, at the Roundhouse. With Helen.
Think that's enough to be going along with..!
