It's a drag, getting to the Menier Chocolate Factory from where I am. But Fully Committed sounded good, and had the advantage of being just over an hour long - so I could get home at a decent time, considering I'm in Guildford today. So I booked, given that availability seems limited.
At least it doesn't start until 8. Not a single train passing through West Brompton when I arrived there was scheduled to go to town, so change at Earl's Court it was. Anyway, a train to town arrived at the adjacent platform shortly after we disembarked. Google Maps' journey time estimate was nonsense, as usual - although that probably had something to do with the persistent delays on the District Line. Changing to the Jubilee Line was a relief - it tends to go faster, and in three stops I was at London Bridge.
Now, London Bridge station has always been a wee mystery to me. I have always ended up exiting at the London Bridge exit. This is fine if I'm going to the Scoop or Tower Bridge - not so fine for where I was going yesterday, which is in the other direction. I knew there was another exit, closer - I could see it on the maps, and as I made my way down the road, I passed it; indeed, I have always returned through that entrance! Somehow though, I could never figure out how to get to it from inside the station, when coming out.
Well gee, I figured it out last night. :-) I think the problem was that I always just followed the crowd - and the crowd was always headed to the London Bridge exit. Left and up the escalator. However, last night, the crowd wasn't so bad - and I looked to my right for once. O gee, a sign that pointed left for the London Bridge exit and right for the Borough Market exit. Hang on - didn't Google Maps say I had to take that exit? I moseyed in that direction. O look, that's where they put all the maps and direction signs! which I never saw before. Sure enough, when I made my way to the exit, it was the one I've seen so often, halfway down the road towards the Menier Chocolate Factory. Thus cutting my walk in half, and meaning that, for once, without even getting out of breath, I was NOT the last person into the theatre, but entered with the main body of the audience. Result!
Seating here is on upholstered benches - comfy enough, especially for a short show, but a bit too snug for what looked like a full house. I found my row - Row B, second from the stage, and facing it. Good seat. Except.. I couldn't see my spot. I asked the ladies at the end of the row. "What number are you?" "22". "Oh, you're this three inches here." The gent to my left suggested I not breathe.
So yes, that was cosier than was ideal. But the show was short, as I say.. What a lot they packed into it though! Or I should say, "he" packed into it - it's a one-man show. Kevin Bishop, a comedian I've never heard of, but he gives a tour-de-force here. He plays a harrassed employee in the reservations office of a really popular restaurant in what seems like New York. Poor fellow finds himself all alone on this day, coming up to Christmas. He should have two colleagues to help, but one, it turns out, has family problems, and Lord know what the other one is up to. Our hapless hero has to man three phones-full of irate customers (including the VIPs, who get special treatment), as well as fielding calls on the special, red phone that connects him to the chef. And let's not forget the intercom, which he has to keep running to, to communicate with the kitchen and front-of-house.
He does all the voices, by the way, which starts off a bit weird but you shortly get used to it. That poor man does a huge amount of running around the stage. Even the red telephone suffers - the little flashing light fell off it last night, in the frenzy. But the real awe-inducing element of this performance is the rapid-fire script, which barely lets up the entire time. Oh, and he changes voices, facial expressions.. and on a couple of occasions, bursts into song. So you get a mini-musical too.
For a Brit, he does a decent American accent, I think. But he got a spontaneous round of applause for his impression of Michael Caine, ringing for a reservation. We had trouble enough keeping up with the plot - but he, who had to remember a tremendous amount of dialogue, never faltered. Good singer, too. And he looked happy at the end - as he might, with the well-deserved standing ovation he got. O yes, I can see why Time Out recommended this, and so do I. Heartily. Only runs until Saturday - limited availability. Booking advised. Go see.
And again, it was too late to blog last night..
So, I'm taking tonight off. Back to Ireland tomorrow for the weekend, and back to the Opera House on Monday for a trilogy of contemporary ballets about the First World War. From my usual vantage point of the Auditorium.
Thursday, 13 November 2014
Wednesday, 12 November 2014
Ballet: Frederick Ashton Mixed Programme
It's interesting, how much dance has been coming up lately in Time Out. None for ages, and then.. well, it makes a lovely change. So when the Frederick Ashton Mixed Programme came up in the Royal Opera House (the home of the Royal Ballet), I was keen. Apparently, he was their founder choreographer. But the only tickets that the official box office had left were standing or restricted view. Hunting around, I discovered stalls tickets on LoveTheatre - a small markup, but I considered it worth the price, and booked. Ooh, stalls at the Opera House.. a first for me!
The Tube got me there in time, despite a long, and unexplained, delay at Hyde Park Corner. It's handy now they have finished the repair work at Covent Garden Station - it's quicker to get out and there's not nearly as much congestion. Turning right for the Piazza, I was delighted to see they've set up their Christmas lights! (Pictures here.)
I do love how LoveTheatre just sends your ticket to the box office, and you collect it as normal. That sorted, I made my way into the lobby. And for the very first time ever, instead of heading for the escalator or stairs - or lift - I just turned left, to the ornate wooden doors to the stalls. Turns out you still have to climb some stairs (there is also wheelchair access).
Anyhoo, I soon made my way to my seat, decently far forward and to the side. Comfortable as you'd expect, with plenty of legroom. What was surprising was the view of the upper galleries - I'm usually in the Auditorium, top of the house. I mean, when you're up there, you realise there are several lower levels, but in the stalls you can see them all..!
It was terrific to be so close. Not an experience I'll have very often here - so I made sure to enjoy every minute. The programme comprised four separate productions, with an interval between each pair, for set changes - although the pause between the first two was only five minutes, and we were asked not to leave our seats for that. I didn't see the need for a programme, but they print free fliers that you can get from the programme stand, which give the basic information - the title of the piece, cast, details of the intervals.
Most didn't really have a plot. Of course, it's nice just to see dance for its own sake. The first, Scenes de Ballet, had dancers in costumes that were cartoonishly coloured - and was gorgeous to watch. The second, Five Brahms Waltzes in the Manner of Isadora Duncan, saw a lass in a flowing dress fling herself (elegantly) about the stage, a la Ms Duncan, accompanied by a pianist (also on stage). They both got bouquets at the end, which was nice.
After the next interval, we saw a bare stage house six dancers in white for Symphonic Variations. Interesting about their costumes was that the men had silver headpieces similar to the ladies' tiaras. Curiously, they decided to bring the safety curtain down for the interval after that - they hadn't bothered for the previous interval, despite it being only five minutes shorter. And finally, the only piece that had something of a plot - A Month in the Country, set in a drawing room on a Russian country estate in the 19th Century, where the lady of the house takes something of a shine to her son's tutor.
A beautiful evening, in a beautiful setting. And the reopening of Covent Garden station entrance was much appreciated, given that this is a rainy week. A long programme, with two long intervals, meant that it was too late, once again, to blog when I got home. So here we are.
Tonight, I'm off to the Menier Chocolate Factory, for a comedy play called Fully Committed. Well, I'm glad it's not starting until 8 - it's something of a saga, getting there. Tube to London Bridge and a walk of about 10 minutes.. It'll be a sandwich for dinner again as it is! Anyway, it's a short show, which is good, as I have an early start tomorrow to go to Guildford. And I don't doubt I'll be too tired to go to anything tomorrow night. Then I'm back in Ireland for the weekend. On Monday, I'll be back in my normal level (just under the roof) in the Opera House, for yet another mixed ballet programme, this time based around the First World War - Ceremony of Innocence / The Age of Anxiety / Aeternum. But my seat is dead centre, and a central seat in the Opera House always has a good view!
The Tube got me there in time, despite a long, and unexplained, delay at Hyde Park Corner. It's handy now they have finished the repair work at Covent Garden Station - it's quicker to get out and there's not nearly as much congestion. Turning right for the Piazza, I was delighted to see they've set up their Christmas lights! (Pictures here.)
I do love how LoveTheatre just sends your ticket to the box office, and you collect it as normal. That sorted, I made my way into the lobby. And for the very first time ever, instead of heading for the escalator or stairs - or lift - I just turned left, to the ornate wooden doors to the stalls. Turns out you still have to climb some stairs (there is also wheelchair access).
Anyhoo, I soon made my way to my seat, decently far forward and to the side. Comfortable as you'd expect, with plenty of legroom. What was surprising was the view of the upper galleries - I'm usually in the Auditorium, top of the house. I mean, when you're up there, you realise there are several lower levels, but in the stalls you can see them all..!
It was terrific to be so close. Not an experience I'll have very often here - so I made sure to enjoy every minute. The programme comprised four separate productions, with an interval between each pair, for set changes - although the pause between the first two was only five minutes, and we were asked not to leave our seats for that. I didn't see the need for a programme, but they print free fliers that you can get from the programme stand, which give the basic information - the title of the piece, cast, details of the intervals.
Most didn't really have a plot. Of course, it's nice just to see dance for its own sake. The first, Scenes de Ballet, had dancers in costumes that were cartoonishly coloured - and was gorgeous to watch. The second, Five Brahms Waltzes in the Manner of Isadora Duncan, saw a lass in a flowing dress fling herself (elegantly) about the stage, a la Ms Duncan, accompanied by a pianist (also on stage). They both got bouquets at the end, which was nice.
After the next interval, we saw a bare stage house six dancers in white for Symphonic Variations. Interesting about their costumes was that the men had silver headpieces similar to the ladies' tiaras. Curiously, they decided to bring the safety curtain down for the interval after that - they hadn't bothered for the previous interval, despite it being only five minutes shorter. And finally, the only piece that had something of a plot - A Month in the Country, set in a drawing room on a Russian country estate in the 19th Century, where the lady of the house takes something of a shine to her son's tutor.
A beautiful evening, in a beautiful setting. And the reopening of Covent Garden station entrance was much appreciated, given that this is a rainy week. A long programme, with two long intervals, meant that it was too late, once again, to blog when I got home. So here we are.
Tonight, I'm off to the Menier Chocolate Factory, for a comedy play called Fully Committed. Well, I'm glad it's not starting until 8 - it's something of a saga, getting there. Tube to London Bridge and a walk of about 10 minutes.. It'll be a sandwich for dinner again as it is! Anyway, it's a short show, which is good, as I have an early start tomorrow to go to Guildford. And I don't doubt I'll be too tired to go to anything tomorrow night. Then I'm back in Ireland for the weekend. On Monday, I'll be back in my normal level (just under the roof) in the Opera House, for yet another mixed ballet programme, this time based around the First World War - Ceremony of Innocence / The Age of Anxiety / Aeternum. But my seat is dead centre, and a central seat in the Opera House always has a good view!
Tuesday, 11 November 2014
Film: Interstellar
Jump to the ** for the short version..!
Interstellar was right at the top of the film list, no competition. And right up until yesterday, I was sure I'd be going to a film. But then Time Out decided to inundate me with gig listings, and I had a decision to make.
..and then Aneta, who left the company a while back, dropped by and drinks were mooted, so by the time we'd finished there.. film was the only thing I could make, and I made my excuses and left at 8.37, for the 8.35 show at the Vue Fulham, my local cinema. The Odeon Kensington is closer to where we were, but the last showing there was at 8. Besides, the Vue is cheaper! (There have been lots of Odeon deals - including one I actually bought and let expire - but none are current right now.) I could have held out for a later show at the Vue, but heavens, I had to come in for work today.. and the film (+ ads) runs to over three hours!
I knew my best chance was to catch a bus outside West Kensington station - so I dashed there, and after a few minutes one appeared. And after a few minutes more, it deposited me on Fulham Broadway. Unfortunately, it took me some minutes more to make my way to the cinema - but I was there by 8.50, and I knew they run 20 minutes of ads. Got a ticket - and voucher for next time - and panted my way into Screen 1 - it's currently showing in three screens there.
There were only about half a dozen of us - well, it is showing in three screens, and this was a weeknight, and a late-ish showing. And one of the nights with no special deals. I actually made it in time for the trailers, and watched an interesting, extended one for The Drop, a thriller with the late James Gandolfini, Tom Hardy, and Noomi Rapace. Goodness, that's two films I've now seen with James Gandolfini, since he died. Ah well.
And so we settled in for the marathon that is Interstellar. Despite having stellar reviews (pun intended, sorry!), you have to wonder what you're in for with an epic that runs for nearly three hours (not counting the ads).
Well, you're in for a Christopher Nolan epic, is what you're in for! He directed this, and co-wrote it with his brother, Jonathan. Now, when the Nolans are involved, you're in for something different - and with Christopher, you're in for a roller-coaster ride! Half of Hollywood seems to agree, because half of Hollywood signed up for it.
Let's see: where do I start? For a film that begins at the end, let's start at the beginning. Matthew McConaughey is a farmer in a post-apocalyptic Earth, where farming is considered much more important than science (the apocalypse that got them here isn't explained, but seems to be environmental, and the inference is that science was somehow responsible). His wife has died, and he lives with his father-in-law (John Lithgow), son and daughter on a dusty farm, far from anywhere.
Anyhoo, one day - doubtless out of boredom: he likes farming, but he used to be a test pilot, as we later discover - he embarks on a voyage of exploration and comes across the renmants of NASA. I might point out that the method by which he finds this place is somewhat less believeable than what happened to Richard Dreyfuss in Close Encounters of the Third Kind. But never mind.
So, hanging out in this place, trying to solve the mysteries of the universe, are an elderly professor of his acquaintance (Michael Caine) and his daughter (Anne Hathaway, sporting an unflattering, short, asymetric hairstyle, doubtless to look more scientific). And they decide that he's just the fellow they need to pilot their exploratory mission to find a new planet for humanity to live on. 'Coz this one is - not to put too fine a point on it - fecked.
And this is where the story properly kicks off. Apparently, there was a consultant physicist on set, and it shows - your basic theme in this film is Unified Field Theory. Not that it's called that in the film, mind - but there is a lot of talk about gravity, and the need to "solve" gravity. Leading to the impression that if they could just do whatever it is they're trying to do, they could just float the whole human race off the planet to wherever they needed to get to. But what the hey, that'll do as a working solution!
Well now, there's an awful lot of talk about relativity theory in this, and I'm not sure they understood all of it. But they do some clever playing around with relative timeframes, so while our intrepid astronauts are off discovering new worlds, Matthew McConaughey's kids have grown up, into Casey Affleck and Jessica Chastain. And that's not the end of the time slips - but I can't give away too much of the plot. Jessica Chastain, by the way, eventually ages to become Ellen Burstyn.
Bill Irwin voices one of the robots - and may I take this opportunity to congratulate them for a hugely innovative robot design! Most versatile. Wes Bentley goes along for the ride. Oh, and I was wondering what had happened to Matt Damon! He is on the cast list, but doesn't appear for ages.. and then pops up as one of the scientists of the first wave of exploratory missions, who set up camp on one of these candidate replacement worlds. He makes a brief, but memorable, appearance.
Well, that's the basic plot. But what is it like?
** This film is epic in every sense. Now, once we enter a black hole (not much of a spoiler, there's always one, isn't there?) things go seriously wacky. It's all very imaginative, but just a bit daft. And that's why, like IMDB, I give it about 9/10. But UP TO the black hole, this is a serious contender for best sci-fi film of all time. It really does have a bit of everything. The action sequences are edge-of-the-seat stuff. The alien worlds are imaginative, yet quite believeable, with different and fascinating characteristics. The soundtrack! Man, if you happen to forget to be excited, this soundtrack is here to help. I came out humming it - how often does that happen for a sci-fi film? (We have Hans Zimmer to thank for that, BTW.)
Fantastic film. Really and truly. And has to be long, given that we're talking about the very meaning of life, and the nature of the universe. Which looks fantastic, may I add, with shots worthy of Gravity. Epic in scale, visionary in outlook. This is destined to be one of the films that become a household name for the entire world.
I was surprised, mind, to check my watch at the end and discover it was 11.50! That means there were probably 10 mins extra of ads at that showing. Anyway, a 15-minute walk got me home - detouring slightly so as not to get in the way of our local fox! And then it was too late to blog - hence the lateness of this report.
Tonight is Scenes de Ballet - a mixed programme at the Opera House. The only availability they had for tonight was standing or restricted view - this was 9 days ago. The only other site that had tickets was LoveTheatre, which had stalls tickets for a small markup - I got one of those. Well, it'll probably be my only time in the stalls at the Opera House! so I'm looking forward to that. I see tomorrow night - the last night - is sold out, on the official website at least. And I got an email yesterday - I'm signed up for TFL updates - to the effect that Covent Garden Station lifts are fixed now, so the station should be operating normally again, and I can get the Tube back from there. That'll be handy.
For tomorrow night, I've booked to see a play called Fully Committed - a comedy about a busy restaurant taking bookings - at the Menier Chocolate Factory. Ends Saturday - quite limited availability. And then I'm back to Ireland again (!) for the weekend. Well, y'see, I'm supposed to be on a training course next week, and didn't want to be rushing from there to the airport that weekend..
Interstellar was right at the top of the film list, no competition. And right up until yesterday, I was sure I'd be going to a film. But then Time Out decided to inundate me with gig listings, and I had a decision to make.
..and then Aneta, who left the company a while back, dropped by and drinks were mooted, so by the time we'd finished there.. film was the only thing I could make, and I made my excuses and left at 8.37, for the 8.35 show at the Vue Fulham, my local cinema. The Odeon Kensington is closer to where we were, but the last showing there was at 8. Besides, the Vue is cheaper! (There have been lots of Odeon deals - including one I actually bought and let expire - but none are current right now.) I could have held out for a later show at the Vue, but heavens, I had to come in for work today.. and the film (+ ads) runs to over three hours!
I knew my best chance was to catch a bus outside West Kensington station - so I dashed there, and after a few minutes one appeared. And after a few minutes more, it deposited me on Fulham Broadway. Unfortunately, it took me some minutes more to make my way to the cinema - but I was there by 8.50, and I knew they run 20 minutes of ads. Got a ticket - and voucher for next time - and panted my way into Screen 1 - it's currently showing in three screens there.
There were only about half a dozen of us - well, it is showing in three screens, and this was a weeknight, and a late-ish showing. And one of the nights with no special deals. I actually made it in time for the trailers, and watched an interesting, extended one for The Drop, a thriller with the late James Gandolfini, Tom Hardy, and Noomi Rapace. Goodness, that's two films I've now seen with James Gandolfini, since he died. Ah well.
And so we settled in for the marathon that is Interstellar. Despite having stellar reviews (pun intended, sorry!), you have to wonder what you're in for with an epic that runs for nearly three hours (not counting the ads).
Well, you're in for a Christopher Nolan epic, is what you're in for! He directed this, and co-wrote it with his brother, Jonathan. Now, when the Nolans are involved, you're in for something different - and with Christopher, you're in for a roller-coaster ride! Half of Hollywood seems to agree, because half of Hollywood signed up for it.
Let's see: where do I start? For a film that begins at the end, let's start at the beginning. Matthew McConaughey is a farmer in a post-apocalyptic Earth, where farming is considered much more important than science (the apocalypse that got them here isn't explained, but seems to be environmental, and the inference is that science was somehow responsible). His wife has died, and he lives with his father-in-law (John Lithgow), son and daughter on a dusty farm, far from anywhere.
Anyhoo, one day - doubtless out of boredom: he likes farming, but he used to be a test pilot, as we later discover - he embarks on a voyage of exploration and comes across the renmants of NASA. I might point out that the method by which he finds this place is somewhat less believeable than what happened to Richard Dreyfuss in Close Encounters of the Third Kind. But never mind.
So, hanging out in this place, trying to solve the mysteries of the universe, are an elderly professor of his acquaintance (Michael Caine) and his daughter (Anne Hathaway, sporting an unflattering, short, asymetric hairstyle, doubtless to look more scientific). And they decide that he's just the fellow they need to pilot their exploratory mission to find a new planet for humanity to live on. 'Coz this one is - not to put too fine a point on it - fecked.
And this is where the story properly kicks off. Apparently, there was a consultant physicist on set, and it shows - your basic theme in this film is Unified Field Theory. Not that it's called that in the film, mind - but there is a lot of talk about gravity, and the need to "solve" gravity. Leading to the impression that if they could just do whatever it is they're trying to do, they could just float the whole human race off the planet to wherever they needed to get to. But what the hey, that'll do as a working solution!
Well now, there's an awful lot of talk about relativity theory in this, and I'm not sure they understood all of it. But they do some clever playing around with relative timeframes, so while our intrepid astronauts are off discovering new worlds, Matthew McConaughey's kids have grown up, into Casey Affleck and Jessica Chastain. And that's not the end of the time slips - but I can't give away too much of the plot. Jessica Chastain, by the way, eventually ages to become Ellen Burstyn.
Bill Irwin voices one of the robots - and may I take this opportunity to congratulate them for a hugely innovative robot design! Most versatile. Wes Bentley goes along for the ride. Oh, and I was wondering what had happened to Matt Damon! He is on the cast list, but doesn't appear for ages.. and then pops up as one of the scientists of the first wave of exploratory missions, who set up camp on one of these candidate replacement worlds. He makes a brief, but memorable, appearance.
Well, that's the basic plot. But what is it like?
** This film is epic in every sense. Now, once we enter a black hole (not much of a spoiler, there's always one, isn't there?) things go seriously wacky. It's all very imaginative, but just a bit daft. And that's why, like IMDB, I give it about 9/10. But UP TO the black hole, this is a serious contender for best sci-fi film of all time. It really does have a bit of everything. The action sequences are edge-of-the-seat stuff. The alien worlds are imaginative, yet quite believeable, with different and fascinating characteristics. The soundtrack! Man, if you happen to forget to be excited, this soundtrack is here to help. I came out humming it - how often does that happen for a sci-fi film? (We have Hans Zimmer to thank for that, BTW.)
Fantastic film. Really and truly. And has to be long, given that we're talking about the very meaning of life, and the nature of the universe. Which looks fantastic, may I add, with shots worthy of Gravity. Epic in scale, visionary in outlook. This is destined to be one of the films that become a household name for the entire world.
I was surprised, mind, to check my watch at the end and discover it was 11.50! That means there were probably 10 mins extra of ads at that showing. Anyway, a 15-minute walk got me home - detouring slightly so as not to get in the way of our local fox! And then it was too late to blog - hence the lateness of this report.
Tonight is Scenes de Ballet - a mixed programme at the Opera House. The only availability they had for tonight was standing or restricted view - this was 9 days ago. The only other site that had tickets was LoveTheatre, which had stalls tickets for a small markup - I got one of those. Well, it'll probably be my only time in the stalls at the Opera House! so I'm looking forward to that. I see tomorrow night - the last night - is sold out, on the official website at least. And I got an email yesterday - I'm signed up for TFL updates - to the effect that Covent Garden Station lifts are fixed now, so the station should be operating normally again, and I can get the Tube back from there. That'll be handy.
For tomorrow night, I've booked to see a play called Fully Committed - a comedy about a busy restaurant taking bookings - at the Menier Chocolate Factory. Ends Saturday - quite limited availability. And then I'm back to Ireland again (!) for the weekend. Well, y'see, I'm supposed to be on a training course next week, and didn't want to be rushing from there to the airport that weekend..
Thursday, 6 November 2014
Standup: Dara Ó' Briain
Ah, Dara Ó' Briain. A very, very funny man - with a brain, too. I actually met him when we were in the same class for General Relativity in University College, Dublin. After graduation, he dropped all that pretty quickly (I dropped it pretty quickly myself, too!) and he went down the showbiz route, also moving gradually into standup. He'd been a champion debater in his college days.. it stood to him, you could say. I've seen him perform several times now, and he's hilarious.
So, as I was to be back in Ireland this coming weekend anyway, I was happy to come back a couple of days early and catch this show. Good job I booked my ticket long ago - the show sold out, predictably. I took an end seat in the fourth row from the stage. I didn't book one for my mother - not her thing!
To describe this day as "wet" would not do justice to the sheer volume of water that fell. I had nervous thoughts, remembering the horrendous floods that preceded the Arctic winters of a few years ago. Earlier this afternoon, my mother and I had a trip to the Abbey Tavern for a meal - luckily, we got a parking space near the door. On a Thursday evening, it was pretty deserted. I decided to go for the steak sandwich for a change - and let me tell you, that was an extremely tasty choice, well presented! Worth a go, definitely. May I also compliment them on their new "food's ready!" alert system - a bell and a bright blue, flashing light that shows both at the entrance to the kitchen, and at the bar. Now we'll all know when the food is cooked..
Dropping my mother home, the car clock said 6.40. I knew it was a bit fast, so reckoned the time at about 6.30 - just right. I dropped her at the door and headed straight into Limerick, splashing through floods the whole way there. As I was stopped in traffic in town, on my way to the university, I checked my watch. O gosh, had it stopped?! It was an hour earlier than the car clock. And then I remembered that the car clock is still on summertime (it's very hard to adjust). Duh. Ah well, this was the earliest I've ever been to an event!
So I got a parking space quite near the door of the concert hall. Mooched around in the car for a while, played solitaire on my phone, then went in. Paid a visit to the toilet, then collected my ticket, got a glass of wine and headed for the cafe to sit, drink, and people-watch (not that the fashions would be so extravagant at this!). Unfortunately, they've reduced the number of sofas there, and what they had were occupied, so I picked the table overlooking the stairs. I also noticed that the bar in the cafe area was open, unusually. I should've expected that, with a sold-out show..
When the doors to the auditorium opened, I drank up and headed for my seat. It took the place a while to fill up, but fill up it did. They weren't joking - in this case (unlike, for example, rock concerts), "sold-out" really did mean sold-out! Balcony too, which isn't always opened. They hadn't made the choir seats (behind the stage) available - but then, Dara isn't in the habit of doing shows in the round. Instead, a curtain covered the rear of the stage. Dearie me, that curtain needs replacing - for goodness' sake, it was patched with masking tape in a couple of places! One hole that was covered looked quite large..
The show started 10 minutes late - there was no support, just Dara, for about two hours. When he came on, he explained that they decided to give people a little extra time to get there, and get dry, what with the "ludicrous" weather. Yes, well you do get unused to it, living in London as we both now do - and which is much dryer.
I timed it - it took him 15 minutes to reduce me to tears. You do need comfortable seats for one of his shows - it helps, for when you're reduced to quivering jelly. Someone remarked, when I mentioned that I was going to this, that he'd been to a couple of his shows, and he had to say, they were completely different from each other. One of his main tricks, you see, is to engage people in the front row - ask them what they do, for instance. He mines them for material - it's the debater in him. Not necessarily restricted to the front row, mind - Lordy, that poor woman, two rows behind me, who had fallen asleep, and he saw her and said "Ah now, shush, don't wake her!" At which point the hapless lady woke and wondered why he was staring at her, whereupon he welcomed her heartily to the show.
I was a lot closer on this occasion than the last time I saw him - and being close, you can really see how he works an audience. He's so sharp - never lets anything pass, notices everything. Much of the material was very topical - down to his making a point of the glass of water that had been left onstage for him, and how we must think he's flaunting it in front of us. So he made a point of splashing it about, to show how extravagant he was, what with the country protesting about the introduction of water charges.
As I watched, it occurred to me that the last time I saw him play in UL was in the Stables bar on campus! (Standing room only.) Ah gosh, that was a long, long time ago. Sure, he even had hair, back then. How things have changed..
Terrific show. You know, it's funny because it's true. Like the poor lift engineer, sat in the front row, whom Dara picked on all night because he found so many interesting things to ask him. Like, can you make them go sideways? And - how about, with all the numbered buttons for the different floors, you add a button that just has "?" on it..
Ah. Well, that's all I have planned for the weekend. Monday is looking like a film, unusually these days. I haven't had time to go through the listings yet, but I'd be quite surprised if I didn't end up going to Interstellar, which has a terrifically high rating. Directed and co-written by Christopher Nolan, starring Matthew McConaughey, Michael Caine, Jessica Chastain, Anne Hathaway, Matt Damon, Casey Affleck, Ellen Burstyn, John Lithgow.. Jeez, everyone wants to be in this year's Gravity, huh?! Well, we'll see.
On Tuesday, I'm going to a set of ballets at the Opera House - which, as you'll recall, is the home of the Royal Ballet. Hey, maybe I'll manage a photo, for once! Certainly, this'll be my first time in the stalls there - the official website had nothing left but standing and restricted view, and the only other website I found with availability was LoveTheatre - which only had stalls seats. Not cheap, but hopefully, worth it!
So, as I was to be back in Ireland this coming weekend anyway, I was happy to come back a couple of days early and catch this show. Good job I booked my ticket long ago - the show sold out, predictably. I took an end seat in the fourth row from the stage. I didn't book one for my mother - not her thing!
To describe this day as "wet" would not do justice to the sheer volume of water that fell. I had nervous thoughts, remembering the horrendous floods that preceded the Arctic winters of a few years ago. Earlier this afternoon, my mother and I had a trip to the Abbey Tavern for a meal - luckily, we got a parking space near the door. On a Thursday evening, it was pretty deserted. I decided to go for the steak sandwich for a change - and let me tell you, that was an extremely tasty choice, well presented! Worth a go, definitely. May I also compliment them on their new "food's ready!" alert system - a bell and a bright blue, flashing light that shows both at the entrance to the kitchen, and at the bar. Now we'll all know when the food is cooked..
Dropping my mother home, the car clock said 6.40. I knew it was a bit fast, so reckoned the time at about 6.30 - just right. I dropped her at the door and headed straight into Limerick, splashing through floods the whole way there. As I was stopped in traffic in town, on my way to the university, I checked my watch. O gosh, had it stopped?! It was an hour earlier than the car clock. And then I remembered that the car clock is still on summertime (it's very hard to adjust). Duh. Ah well, this was the earliest I've ever been to an event!
So I got a parking space quite near the door of the concert hall. Mooched around in the car for a while, played solitaire on my phone, then went in. Paid a visit to the toilet, then collected my ticket, got a glass of wine and headed for the cafe to sit, drink, and people-watch (not that the fashions would be so extravagant at this!). Unfortunately, they've reduced the number of sofas there, and what they had were occupied, so I picked the table overlooking the stairs. I also noticed that the bar in the cafe area was open, unusually. I should've expected that, with a sold-out show..
When the doors to the auditorium opened, I drank up and headed for my seat. It took the place a while to fill up, but fill up it did. They weren't joking - in this case (unlike, for example, rock concerts), "sold-out" really did mean sold-out! Balcony too, which isn't always opened. They hadn't made the choir seats (behind the stage) available - but then, Dara isn't in the habit of doing shows in the round. Instead, a curtain covered the rear of the stage. Dearie me, that curtain needs replacing - for goodness' sake, it was patched with masking tape in a couple of places! One hole that was covered looked quite large..
The show started 10 minutes late - there was no support, just Dara, for about two hours. When he came on, he explained that they decided to give people a little extra time to get there, and get dry, what with the "ludicrous" weather. Yes, well you do get unused to it, living in London as we both now do - and which is much dryer.
I timed it - it took him 15 minutes to reduce me to tears. You do need comfortable seats for one of his shows - it helps, for when you're reduced to quivering jelly. Someone remarked, when I mentioned that I was going to this, that he'd been to a couple of his shows, and he had to say, they were completely different from each other. One of his main tricks, you see, is to engage people in the front row - ask them what they do, for instance. He mines them for material - it's the debater in him. Not necessarily restricted to the front row, mind - Lordy, that poor woman, two rows behind me, who had fallen asleep, and he saw her and said "Ah now, shush, don't wake her!" At which point the hapless lady woke and wondered why he was staring at her, whereupon he welcomed her heartily to the show.
I was a lot closer on this occasion than the last time I saw him - and being close, you can really see how he works an audience. He's so sharp - never lets anything pass, notices everything. Much of the material was very topical - down to his making a point of the glass of water that had been left onstage for him, and how we must think he's flaunting it in front of us. So he made a point of splashing it about, to show how extravagant he was, what with the country protesting about the introduction of water charges.
As I watched, it occurred to me that the last time I saw him play in UL was in the Stables bar on campus! (Standing room only.) Ah gosh, that was a long, long time ago. Sure, he even had hair, back then. How things have changed..
Terrific show. You know, it's funny because it's true. Like the poor lift engineer, sat in the front row, whom Dara picked on all night because he found so many interesting things to ask him. Like, can you make them go sideways? And - how about, with all the numbered buttons for the different floors, you add a button that just has "?" on it..
Ah. Well, that's all I have planned for the weekend. Monday is looking like a film, unusually these days. I haven't had time to go through the listings yet, but I'd be quite surprised if I didn't end up going to Interstellar, which has a terrifically high rating. Directed and co-written by Christopher Nolan, starring Matthew McConaughey, Michael Caine, Jessica Chastain, Anne Hathaway, Matt Damon, Casey Affleck, Ellen Burstyn, John Lithgow.. Jeez, everyone wants to be in this year's Gravity, huh?! Well, we'll see.
On Tuesday, I'm going to a set of ballets at the Opera House - which, as you'll recall, is the home of the Royal Ballet. Hey, maybe I'll manage a photo, for once! Certainly, this'll be my first time in the stalls there - the official website had nothing left but standing and restricted view, and the only other website I found with availability was LoveTheatre - which only had stalls seats. Not cheap, but hopefully, worth it!
Wednesday, 5 November 2014
Concert: Gala Opening of Buta
Well, Monday was freezing, it lashed rain at lunchtime, and the last thing I wanted to do was traipse halfway across town for something I was ambivalent about anyway. So I stayed in. And that brought me to last night, and my free Showfilmfirst gig.
The main attraction for me in a free ticket to the gala opening of Buta (the festival of arts of Azerbaijan) was really that it was in the Albert Hall, and it's ages since I've been there! Anyhoo, I checked out some YouTube clips and decided it sounded interesting.
Now, the Albert Hall isn't that far away from me, but it's another of those places that turn out to be a bit further than you'd think, so you need to leave enough time. Even with the concert not starting until 8, they asked Showfilmfirst patrons to get there by 7.30 to pick up our tickets - and of course, I was rushing again. The nearest Tube station is South Kensington.
I was incredibly lucky with trains, mind. A train arrived as I got to the platform in West Brompton. As usual, the platform indicator was wrong, promising me a train that would take me all the way, when the train itself wouldn't. However, they all go through Earl's Court, from where you can change to whatever train you want, so it's always worth taking the next - and I did. At Earl's Court, the train on the opposite platform was going my way, and the driver obligingly waited until we all scurried across - we left within a minute. Two stops later, we were in South Kensington.
As I scurried along the subterranean passageway that leads to the museums, and most of the way to the Albert Hall, it occurred to me how many times I've rushed along it, desperate not to be late for something! It also occurred to me how long it's been since it last happened. Anyhoo, I finally got to the end, and was back out in the rain again. A helpful, simplified map just at the exit tells you how to get to the Albert Hall, but it's easy - left out of the passageway, then left down Prince Consort Road (notice a theme developing here?) and the first right onto Kensington Gore. As I sploshed along, I couldn't help but notice a very vocal protest, across the road from Oginsko Restaurant and apparently directed at it. Some girls, with slogans scrawled on bedsheets. Couldn't make out what they were saying.
When you've wound your way around Kensington Gore, you can't miss the Albert Hall - it's that large, round building. Round buildings aren't too common. My ticket said to head for Door 3 or Door 9, depending on surname, for Showfilmfirst tickets. I was headed for Door 3 - luckily, that's the very one you come to from that direction. As I entered, the lady on the door directed me to the end of the queue. The VERY long queue that snaked around the lobby. I began to wonder just how many Showfilmfirst tickets they'd given away!
Well, in the end it only took me 15 minutes to get to the end of the queue - by which stage, the queue was now longer than when I'd started, and had curled around on itself. The frazzled lady at the desk took my printed confirmation - Showfilmfirst is one thing you do need to print confirmations for. She was glad to be told how many tickets I wanted, rather than having to check! Ticket in paw, I dashed for my seat.
I had a Circle seat. Highest up I've ever been here: in the Albert Hall, you have the Stalls, Loggia (behind the Stalls), Grand Tier, Second Tier, Circle, Gallery. The Gallery is standing - they weren't offering standing tickets for this. I've typically gone for the Second Tier - ticket prices are reasonable there, and you are in a small box, with a good view. Besides, the Circle looked too steep. Well, in the meantime, I've been to the Coliseum a lot - and if you can manage that, you can manage most things.
The Albert Hall is pretty easy to navigate - the nearest door is marked on your ticket, they're all numbered, and if you're not near that door, just keep running around the outside of the (round) building till you get to it. There was a lift, with a small gaggle of people in front of it, but I figured I'd be faster taking the stairs - besides, the lift looked quite small. It turned out I was in the very back row of the Circle, so the highest seats in the house - but they have railings all the way up, like the Opera House, and I managed. Seats are comfy, legroom is decent.
As for the view..
The main attraction for me in a free ticket to the gala opening of Buta (the festival of arts of Azerbaijan) was really that it was in the Albert Hall, and it's ages since I've been there! Anyhoo, I checked out some YouTube clips and decided it sounded interesting.
Now, the Albert Hall isn't that far away from me, but it's another of those places that turn out to be a bit further than you'd think, so you need to leave enough time. Even with the concert not starting until 8, they asked Showfilmfirst patrons to get there by 7.30 to pick up our tickets - and of course, I was rushing again. The nearest Tube station is South Kensington.
I was incredibly lucky with trains, mind. A train arrived as I got to the platform in West Brompton. As usual, the platform indicator was wrong, promising me a train that would take me all the way, when the train itself wouldn't. However, they all go through Earl's Court, from where you can change to whatever train you want, so it's always worth taking the next - and I did. At Earl's Court, the train on the opposite platform was going my way, and the driver obligingly waited until we all scurried across - we left within a minute. Two stops later, we were in South Kensington.
As I scurried along the subterranean passageway that leads to the museums, and most of the way to the Albert Hall, it occurred to me how many times I've rushed along it, desperate not to be late for something! It also occurred to me how long it's been since it last happened. Anyhoo, I finally got to the end, and was back out in the rain again. A helpful, simplified map just at the exit tells you how to get to the Albert Hall, but it's easy - left out of the passageway, then left down Prince Consort Road (notice a theme developing here?) and the first right onto Kensington Gore. As I sploshed along, I couldn't help but notice a very vocal protest, across the road from Oginsko Restaurant and apparently directed at it. Some girls, with slogans scrawled on bedsheets. Couldn't make out what they were saying.
When you've wound your way around Kensington Gore, you can't miss the Albert Hall - it's that large, round building. Round buildings aren't too common. My ticket said to head for Door 3 or Door 9, depending on surname, for Showfilmfirst tickets. I was headed for Door 3 - luckily, that's the very one you come to from that direction. As I entered, the lady on the door directed me to the end of the queue. The VERY long queue that snaked around the lobby. I began to wonder just how many Showfilmfirst tickets they'd given away!
Well, in the end it only took me 15 minutes to get to the end of the queue - by which stage, the queue was now longer than when I'd started, and had curled around on itself. The frazzled lady at the desk took my printed confirmation - Showfilmfirst is one thing you do need to print confirmations for. She was glad to be told how many tickets I wanted, rather than having to check! Ticket in paw, I dashed for my seat.
I had a Circle seat. Highest up I've ever been here: in the Albert Hall, you have the Stalls, Loggia (behind the Stalls), Grand Tier, Second Tier, Circle, Gallery. The Gallery is standing - they weren't offering standing tickets for this. I've typically gone for the Second Tier - ticket prices are reasonable there, and you are in a small box, with a good view. Besides, the Circle looked too steep. Well, in the meantime, I've been to the Coliseum a lot - and if you can manage that, you can manage most things.
The Albert Hall is pretty easy to navigate - the nearest door is marked on your ticket, they're all numbered, and if you're not near that door, just keep running around the outside of the (round) building till you get to it. There was a lift, with a small gaggle of people in front of it, but I figured I'd be faster taking the stairs - besides, the lift looked quite small. It turned out I was in the very back row of the Circle, so the highest seats in the house - but they have railings all the way up, like the Opera House, and I managed. Seats are comfy, legroom is decent.
As for the view..
The view, certainly from our row, was somewhat obstructed by the railing. But what the hey - I could see enough, and they had a big screen that I could see perfectly. Looking around the Circle, it did occur to me that all the Circle seats were probably allocated to Showfilmfirst! By showtime, the Stalls were mostly occupied (including the Arena, which is usually standing, but where seats had been placed for this), but the Loggia and Grand Tier were empty and the Second Tier only half full. If not for Showfilmfirst's free tickets, the place would have been over half empty. Which begs the question - why book a venue larger than you can fill? But I guess they wanted a prestigious venue.
I had the joy of being squished between two large ladies. Seats are a bit snug - at least there are armrests. Happily, the end of the row emptied out before the end of the show, and the people to my right moved up a couple of seats, so I could move up one too and we all had some space.
As I say, there was a large screen behind the orchestra. This was used to project a short film about Azerbaijan, and throughout the evening, it announced the next act. It was professionally done, apart from the lack of sound. There was also an MC - he seemed to go off-duty after his opening speech, though.
We had the Royal Philharmonic Concert Orchestra for most of the evening. The repertoire was mostly classical - with composers' names that sounded pretty Azeri. There was an Azeri violin soloist. There was a traditional music trio - sort of the Azeri version of The Chieftains. :-) All in lovely, ornate, ethnic dress, with one on a balalaika, one playing a violin (vertically), and one on something very like a bodhrán, which he played with fingertips.
There was one soprano with an Azeri-sounding name, who came on for one song, but most of the female operatic singing was done by Joan Rodgers. An Azeri jazz virtuoso got a great reception (especially for his catchier number), but the most rapturous reception of the night was reserved for the (surprise) headliner. I don't quite know why they didn't advertise in advance that Andrea Bocelli would be appearing - they'd have got more interest then. Neither do I know what his Azeri connection is. :-) But what the hey, he was the highlight - even though he only sang three songs.. finishing with "Time to Say Goodbye", appropriately. Which brought more than one tear to more than one eye. (And whose chorus he changed to "Time to say salaam".)
And.. that was it! He was led offstage, the lights came up. Ah. No closing word from the MC? Not quite used to this sort of thing, are they? No "thanks for coming", no "please come to the rest of the festival" (it runs till March). They don't even have a working website. Ah well, good luck to them - it was a great evening, with a very Arabian Nights feel to much of the music. Which makes it a pity, really, that "Time to Say Goodbye" is the song most people will have taken from it.
It was also a long evening, and too late to blog by the time I got home (on a direct train that arrived as I got to the platform). Flying back to Ireland tonight, for Dara O' Briain in the University Concert Hall, Limerick tomorrow. Always a good show, Dara! Looking forward to it - for once, I'm near the stage! It's sold out, predictably. And I'm staying in Ireland for the weekend.
Sunday, 2 November 2014
Play: The Curing Room
Today was freezing cold, and with rain in the morning, it definitely wasn't a day conducive to fireworks shows. Instead, I found a curious show called The Curing Room, running in the Pleasance Theatre in Islington. Based on a true story, it tells the tale of seven Soviet soldiers, captured by the Nazis in Poland in 1944 and left behind, imprisoned in a cellar, when the Nazis retreat in the face of oncoming forces. Naked, without food or water, we learn what they had to do to survive.
Well, this charming show is running in a place I'd never been before, but it turned out to be quite easy to get to - Piccadilly Line to Caledonian Road, and a five-minute walk, left out of the station, left at the junction, and it's on your left. Couldn't be easier, really. No problems getting a Tube from West Brompton today, unlike yesterday, and no problems with engineering works on this line. Caledonian Road, it turns out, is one of those stations with lifts, and stairs only for emergencies.
It's not the most scenic of neighbourhoods, quite bleak really, but the walk is short. The Pleasance is well signposted - just turn in the gateway beside the sign, and climb the stairs. It's above Shillibeer's Bar & Grill, and they have a promotion where, when you book a ticket to the theatre, you can have dinner in the pub for £10 extra - but you had to phone to reserve, and it seemed too much hassle for me - I ate at home.
Upstairs, the box office is to your left, and I got a ticket without trouble. Mind you, I arrived 20 minutes early - I think the house was completely full by showtime. A small bar leads off the box office - there's a piano, but hardly room to pull out the stool if you wanted to play it! Two upper floors are visible, and were roped off - a nerdy looking guy near me turned out to be over-enthusiastic, and when it was announced that the house was open, he bounded upstairs! only to discover that the theatre was over the side, actually, just off the bar.
Seating is unassigned, and I got a decent spot, middle of the third row (there are five). It's bench seating, and unfortunately the back was a bit uncomfortable - my back was giving me trouble long before the end of this 90 minute play with no interval. The stage, as you might expect, is small and sparse. And once we were seated, the lights went down and the actors came on.
Yup, there are seven of them. Yup, they're all completely naked, and they stay that way. A light projection at the side explains that we're in Southern Poland, Spring 1944. To denote the passage of days, the lights go down again, and when they come up, the projection at the side tells us how many days into their incarceration we are, and the actors have formed a tableau that leads us into that days' story. Some of these stories are quite short - mercifully.
I couldn't believe how long their incarceration went on for. How these men survived in a bare room, no food or water, no clothes, for 39 days.. well, I don't have to go into too much detail for you to guess how horrible it became. It starts out jolly enough, and there is some humour. That doesn't last. Last night, I came across a horror story that speculated on the nature of hell. Tonight, I saw it embodied.
The nudity is by far not the most shocking thing in this play, and there were several bits I decided I'd rather not watch, as I kept my eyes on the ceiling. The least disturbing of the unpleasant aspects was the sheer filth - they started off dirty, and got more so, smeared with blood as well. And by the end, you could hear their bare feet sticking to the floor as they walked across it. Ick. Mind you, they were hard times - I just listened to a podcast with a cast member, who explained that cannibalism was quite common in Russia in those days..
Yes. Well, thought-provoking stuff. If you fancy having some thoughts provoked, it's running for another week, Tuesday to Sunday.
Tomorrow, I was intrigued to see yet another production of The Marriage of Figaro listed, running in the King's Head. Lordy, you don't see one for ages, and then they all come at once.. eh, no thanks, I only saw a production in the Coliseum last Tuesday! Mind you, you can get tickets a little cheaper in the King's Head - their more expensive tickets are the same price as the cheapest tickets in the Coliseum, their less expensive tickets are £2.50 cheaper. But then, I suspect the production in the Coliseum is more elaborate! No, instead, for tomorrow I'm looking at another play - hopefully lighter than tonight's! Listen, We're Family is showing in JW3 Jewish Cultural Centre. It apparently involves actors reciting the words of real life Jewish characters, as they listen to them through headphones.
On Tuesday, I got another free ShowFilmFirst ticket. This time, they're taking me to the opening night of the Buta festival of Azerbaijani culture! What's nice is that it's in the Albert Hall, and it's nearly two years since I was there. Then on Wednesday, I'm flying back to Ireland, where I'm going to see Dara O' Briain in the University Concert Hall on Thursday - and I'll be there for the weekend.
Well, this charming show is running in a place I'd never been before, but it turned out to be quite easy to get to - Piccadilly Line to Caledonian Road, and a five-minute walk, left out of the station, left at the junction, and it's on your left. Couldn't be easier, really. No problems getting a Tube from West Brompton today, unlike yesterday, and no problems with engineering works on this line. Caledonian Road, it turns out, is one of those stations with lifts, and stairs only for emergencies.
It's not the most scenic of neighbourhoods, quite bleak really, but the walk is short. The Pleasance is well signposted - just turn in the gateway beside the sign, and climb the stairs. It's above Shillibeer's Bar & Grill, and they have a promotion where, when you book a ticket to the theatre, you can have dinner in the pub for £10 extra - but you had to phone to reserve, and it seemed too much hassle for me - I ate at home.
Upstairs, the box office is to your left, and I got a ticket without trouble. Mind you, I arrived 20 minutes early - I think the house was completely full by showtime. A small bar leads off the box office - there's a piano, but hardly room to pull out the stool if you wanted to play it! Two upper floors are visible, and were roped off - a nerdy looking guy near me turned out to be over-enthusiastic, and when it was announced that the house was open, he bounded upstairs! only to discover that the theatre was over the side, actually, just off the bar.
Seating is unassigned, and I got a decent spot, middle of the third row (there are five). It's bench seating, and unfortunately the back was a bit uncomfortable - my back was giving me trouble long before the end of this 90 minute play with no interval. The stage, as you might expect, is small and sparse. And once we were seated, the lights went down and the actors came on.
Yup, there are seven of them. Yup, they're all completely naked, and they stay that way. A light projection at the side explains that we're in Southern Poland, Spring 1944. To denote the passage of days, the lights go down again, and when they come up, the projection at the side tells us how many days into their incarceration we are, and the actors have formed a tableau that leads us into that days' story. Some of these stories are quite short - mercifully.
I couldn't believe how long their incarceration went on for. How these men survived in a bare room, no food or water, no clothes, for 39 days.. well, I don't have to go into too much detail for you to guess how horrible it became. It starts out jolly enough, and there is some humour. That doesn't last. Last night, I came across a horror story that speculated on the nature of hell. Tonight, I saw it embodied.
The nudity is by far not the most shocking thing in this play, and there were several bits I decided I'd rather not watch, as I kept my eyes on the ceiling. The least disturbing of the unpleasant aspects was the sheer filth - they started off dirty, and got more so, smeared with blood as well. And by the end, you could hear their bare feet sticking to the floor as they walked across it. Ick. Mind you, they were hard times - I just listened to a podcast with a cast member, who explained that cannibalism was quite common in Russia in those days..
Yes. Well, thought-provoking stuff. If you fancy having some thoughts provoked, it's running for another week, Tuesday to Sunday.
Tomorrow, I was intrigued to see yet another production of The Marriage of Figaro listed, running in the King's Head. Lordy, you don't see one for ages, and then they all come at once.. eh, no thanks, I only saw a production in the Coliseum last Tuesday! Mind you, you can get tickets a little cheaper in the King's Head - their more expensive tickets are the same price as the cheapest tickets in the Coliseum, their less expensive tickets are £2.50 cheaper. But then, I suspect the production in the Coliseum is more elaborate! No, instead, for tomorrow I'm looking at another play - hopefully lighter than tonight's! Listen, We're Family is showing in JW3 Jewish Cultural Centre. It apparently involves actors reciting the words of real life Jewish characters, as they listen to them through headphones.
On Tuesday, I got another free ShowFilmFirst ticket. This time, they're taking me to the opening night of the Buta festival of Azerbaijani culture! What's nice is that it's in the Albert Hall, and it's nearly two years since I was there. Then on Wednesday, I'm flying back to Ireland, where I'm going to see Dara O' Briain in the University Concert Hall on Thursday - and I'll be there for the weekend.
Saturday, 1 November 2014
Blackheath Fireworks
Well, with Hallowe'en over, it's fireworks time, eh? And this evening, I headed to the Blackheath fireworks - free, and apparently the largest free fireworks event in London. Funny, I never heard of it before - but there is so much happening that that wouldn't surprise me.
Trains to Blackheath run from central London, from stations that I could normally get a direct Tube to. Unfortunately, engineering works this weekend mean that Tube wasn't an option. Instead, the Piccadilly Line was my saviour, taking me into town a little further away, and allowing me to change to another line to travel one stop more to a station where I could get a train to Blackheath. More convoluted, but what can you do.
Now, to get the Piccadilly Line, I need to go to Earl's Court. The Tubes were running from West Brompton to Earl's Court, and I thought I'd go that way.. until I discovered that my walk to the station was populated by a large crowd of people, lots wearing blue. Uh-oh, a match must just have finished at Stamford Bridge (Chelsea's home ground), just down the road. The last Saturday evening I shared a train with Chelsea supporters after a match, it was a nightmare. The trains were so crowded, I had to wait for the second one, and barely managed to squeeze on that. I had a peek down onto the station platform from outside - sure enough, packed. I decided to walk to Earl's Court - it's not far.
Of course, not only did some of the fans have the same idea, but lots transferred to the Piccadilly Line there, having come on trains from West Brompton, or from the stadium. So the Piccadilly Line was packed as well. On my outbound journey I changed for the Northern Line at Leicester Square, disembarking at Charing Cross. I got some cash from one of the three conveniently located ATMs, just beside the platforms, and might have made the 6.02, which I saw was the next train going through Blackheath. However, I decided not to push my luck, and instead took the 6.09. I'm so glad I did - seven minutes is a real luxury when catching a London train, and it was practically deserted when I got on, so I had no trouble getting a seat (my first of the day!). By the time it pulled out, it was crammed. Indeed, I had trouble squeezing off, twenty minutes and four stops later.
As I'd read online happened in previous years, they weren't letting us tap in or out of Blackheath with our Oyster cards - doubtless because of the crowds. Well, I suspect that shall cause me trouble with an "incomplete journey" reading, and sure enough, when I eventually touched out again on my return journey, I think I was overcharged, based on the journey total displayed. Hey-ho, the reclaim process is easy.
I had fun trying to figure out which way to go - I'd thought there'd be big signs directing people, but I guess most already know. My phone, unusually, obliged with an internet connection, and I figured out my direction from that (the common is to the left as you exit the station). I'm with 3, who seem to have signed an agreement with O2, so although I pay my bills to 3, I now seem to be connected to O2 when in London. Maybe I have them to thank for improved reception.
I had a short walk, and there I was. Food stalls to the left - yummy smells emanating from that direction. It was about 6.45, so I had time. Needed the loo first though, and found them just past the food stalls. I knew where to look courtesy of the handy map on the fireworks website! The portaloos (from Loos for Do's) had no lighting, but were otherwise quite the business, with handwash dispensers, flush levers, and a plentiful supply of toilet paper. And a lockable door. And my phone obligingly provided light when I needed it.
That necessity dealt with, I took care of the next, and headed towards the Belgian Waffle stand I'd noticed. I might also have had burgers, hot dogs, roast chicken, fish n chips, or indeed Asian. But I do like a Belgian waffle. I toyed with the idea of the double chocolate, but ultimately was won over by the "marshmallow magic"! Didn't take long, was cooked from fresh, piping hot, and yummy. And it came with a knife and fork! I was even early enough to beat the queue. Mind you, finding a bin afterwards that wasn't overflowing was more of a problem..
The event is free, but they do ask for donations. You can give on the website, but they have dozens of collectors on the night. And once I'd done that, it was well after 7 and time to find a spot to watch the fireworks, scheduled to start at 8. Actually, it doesn't really matter where you plonk yourself - the display can be seen from afar - but there was a cold breeze that was more of a deciding factor. In fact, this was the coldest night I've noticed recently, and I deeply regretted not dressing slightly more warmly. Scarf, jumper, boots would've been nice. At least I happened to have gloves in my pocket! Several people were sitting on picnic blankets, and I was envious - but then, it was kind of too cold for that.
I ended up quite close to the fence that barred us from the firing area. There was a large speaker in the firing zone, blaring out pop music for most of the night and during the display. The playlist showed a strong bias towards songs that mentioned light, fire, fireworks.. An announcement was also played through this speaker, at 8. There was a cheer. The fireworks wouldn't be starting for 10 minutes. There was a great collective moan / boo. Me, I was dancing to the music, just to keep warm! Mind you, it was worth it when it did start.. this must be the most spectacular fireworks display I think I've ever seen! And free, too.
Pictures here, of the night that the sky over Blackheath was set on fire: https://www.facebook.com/media/set/?set=a.10205526250979941.1073741860.1361836980&type=1&l=01f0304e88
Taking pictures of fireworks is interesting - the camera has a slight delay, and the fireworks change very quickly, so you're never quite sure what you'll get! But it was stunning.
And after 20 minutes it was over, and most of us left very quickly (it was cold) - although the food stalls were still open, as was the funfair. Back on the main road, we were corralled by a very effective crowd control system, blocked by lines of police and volunteers, and let through in batches from the different approaches. Initial movement was slow, and I had a nightmarish thought that this would be a repeat of Twickenham in 2005, when a short walk back to the station after a U2 concert took an hour because of the dense crowds, and the space limitation in the station. I'd sworn never to do that again. Fortunately, I didn't have to - we were at the station within half an hour.
We were carefully directed to the correct station entrance, and arrived on the platform at the same time as a train to Victoria. I wasn't sure whether it went through Charing Cross as well, but Victoria is closer to me, and I was sure I could manage from there, despite the closure of my regular Tube. As it happens, the Victoria trains run on a completely different line from the Charing Cross ones, so Victoria was my destination. I got the Victoria Line to Green Park, and changed back to the Piccadilly there. Dreadful amount of stair-climbing and general walking involved in that interchange! I was glad to get home - especially given how overheated the Tube was.
Tomorrow, there are more fireworks. But you know, I think I've done my duty in that respect, and I doubt it can top tonight's show. Goodness knows, fireworks abound these days - I've heard several in the vicinity of my house too, and the Time Out listings are packed with them! No, for tomorrow, at the moment I'm looking at a play called The Curing Room, showing at the Pleasance Theatre in Islington. I've never even heard of the place - it seems to be another room over a pub. Well, these small venues do show interesting things, and this play sounds like one such - seven naked men, smeared in gore, portraying the true story of seven Polish soldiers, imprisoned by the Nazis during the Second World War, without food or drink. Not for the squeamish, as you can guess from the trailer..
Trains to Blackheath run from central London, from stations that I could normally get a direct Tube to. Unfortunately, engineering works this weekend mean that Tube wasn't an option. Instead, the Piccadilly Line was my saviour, taking me into town a little further away, and allowing me to change to another line to travel one stop more to a station where I could get a train to Blackheath. More convoluted, but what can you do.
Now, to get the Piccadilly Line, I need to go to Earl's Court. The Tubes were running from West Brompton to Earl's Court, and I thought I'd go that way.. until I discovered that my walk to the station was populated by a large crowd of people, lots wearing blue. Uh-oh, a match must just have finished at Stamford Bridge (Chelsea's home ground), just down the road. The last Saturday evening I shared a train with Chelsea supporters after a match, it was a nightmare. The trains were so crowded, I had to wait for the second one, and barely managed to squeeze on that. I had a peek down onto the station platform from outside - sure enough, packed. I decided to walk to Earl's Court - it's not far.
Of course, not only did some of the fans have the same idea, but lots transferred to the Piccadilly Line there, having come on trains from West Brompton, or from the stadium. So the Piccadilly Line was packed as well. On my outbound journey I changed for the Northern Line at Leicester Square, disembarking at Charing Cross. I got some cash from one of the three conveniently located ATMs, just beside the platforms, and might have made the 6.02, which I saw was the next train going through Blackheath. However, I decided not to push my luck, and instead took the 6.09. I'm so glad I did - seven minutes is a real luxury when catching a London train, and it was practically deserted when I got on, so I had no trouble getting a seat (my first of the day!). By the time it pulled out, it was crammed. Indeed, I had trouble squeezing off, twenty minutes and four stops later.
As I'd read online happened in previous years, they weren't letting us tap in or out of Blackheath with our Oyster cards - doubtless because of the crowds. Well, I suspect that shall cause me trouble with an "incomplete journey" reading, and sure enough, when I eventually touched out again on my return journey, I think I was overcharged, based on the journey total displayed. Hey-ho, the reclaim process is easy.
I had fun trying to figure out which way to go - I'd thought there'd be big signs directing people, but I guess most already know. My phone, unusually, obliged with an internet connection, and I figured out my direction from that (the common is to the left as you exit the station). I'm with 3, who seem to have signed an agreement with O2, so although I pay my bills to 3, I now seem to be connected to O2 when in London. Maybe I have them to thank for improved reception.
I had a short walk, and there I was. Food stalls to the left - yummy smells emanating from that direction. It was about 6.45, so I had time. Needed the loo first though, and found them just past the food stalls. I knew where to look courtesy of the handy map on the fireworks website! The portaloos (from Loos for Do's) had no lighting, but were otherwise quite the business, with handwash dispensers, flush levers, and a plentiful supply of toilet paper. And a lockable door. And my phone obligingly provided light when I needed it.
That necessity dealt with, I took care of the next, and headed towards the Belgian Waffle stand I'd noticed. I might also have had burgers, hot dogs, roast chicken, fish n chips, or indeed Asian. But I do like a Belgian waffle. I toyed with the idea of the double chocolate, but ultimately was won over by the "marshmallow magic"! Didn't take long, was cooked from fresh, piping hot, and yummy. And it came with a knife and fork! I was even early enough to beat the queue. Mind you, finding a bin afterwards that wasn't overflowing was more of a problem..
The event is free, but they do ask for donations. You can give on the website, but they have dozens of collectors on the night. And once I'd done that, it was well after 7 and time to find a spot to watch the fireworks, scheduled to start at 8. Actually, it doesn't really matter where you plonk yourself - the display can be seen from afar - but there was a cold breeze that was more of a deciding factor. In fact, this was the coldest night I've noticed recently, and I deeply regretted not dressing slightly more warmly. Scarf, jumper, boots would've been nice. At least I happened to have gloves in my pocket! Several people were sitting on picnic blankets, and I was envious - but then, it was kind of too cold for that.
I ended up quite close to the fence that barred us from the firing area. There was a large speaker in the firing zone, blaring out pop music for most of the night and during the display. The playlist showed a strong bias towards songs that mentioned light, fire, fireworks.. An announcement was also played through this speaker, at 8. There was a cheer. The fireworks wouldn't be starting for 10 minutes. There was a great collective moan / boo. Me, I was dancing to the music, just to keep warm! Mind you, it was worth it when it did start.. this must be the most spectacular fireworks display I think I've ever seen! And free, too.
Pictures here, of the night that the sky over Blackheath was set on fire: https://www.facebook.com/media/set/?set=a.10205526250979941.1073741860.1361836980&type=1&l=01f0304e88
Taking pictures of fireworks is interesting - the camera has a slight delay, and the fireworks change very quickly, so you're never quite sure what you'll get! But it was stunning.
And after 20 minutes it was over, and most of us left very quickly (it was cold) - although the food stalls were still open, as was the funfair. Back on the main road, we were corralled by a very effective crowd control system, blocked by lines of police and volunteers, and let through in batches from the different approaches. Initial movement was slow, and I had a nightmarish thought that this would be a repeat of Twickenham in 2005, when a short walk back to the station after a U2 concert took an hour because of the dense crowds, and the space limitation in the station. I'd sworn never to do that again. Fortunately, I didn't have to - we were at the station within half an hour.
We were carefully directed to the correct station entrance, and arrived on the platform at the same time as a train to Victoria. I wasn't sure whether it went through Charing Cross as well, but Victoria is closer to me, and I was sure I could manage from there, despite the closure of my regular Tube. As it happens, the Victoria trains run on a completely different line from the Charing Cross ones, so Victoria was my destination. I got the Victoria Line to Green Park, and changed back to the Piccadilly there. Dreadful amount of stair-climbing and general walking involved in that interchange! I was glad to get home - especially given how overheated the Tube was.
Tomorrow, there are more fireworks. But you know, I think I've done my duty in that respect, and I doubt it can top tonight's show. Goodness knows, fireworks abound these days - I've heard several in the vicinity of my house too, and the Time Out listings are packed with them! No, for tomorrow, at the moment I'm looking at a play called The Curing Room, showing at the Pleasance Theatre in Islington. I've never even heard of the place - it seems to be another room over a pub. Well, these small venues do show interesting things, and this play sounds like one such - seven naked men, smeared in gore, portraying the true story of seven Polish soldiers, imprisoned by the Nazis during the Second World War, without food or drink. Not for the squeamish, as you can guess from the trailer..
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