7 December 2017

Young Marx at Michael Frayn Theatre was a successful experiment

Young Marx was something of an experiment for me as it was my first time at an NT Live broadcast. For some reason I had never been tempted to go to the local cinema to see shows but going to Michael Frayn Theatre, part of Kingston Grammar School's relatively new Queen Elizabeth II Performing Arts Centre, seemed more appropriate.

£10 was a modest price to pay for the experiment and that got me seat G3 which was more or less in the middle vertically and at the edge of the screen (not beyond it) horizontally. It was a perfectly good seat and the decent raking meant that the people in front of me were well clear of my sight line. In that respect the experiment was a complete success even before the show started.

Young Marx was broadcast live from the new Bridge Theatre. I had already booked to see a couple of shows there but Young Marx had not quite appealed enough for me to fork out theatre prices to see it in Central London. That was despite it coming from the team behind One Man, Two Guvnors and it starring Rory Kinnear. That combination was more than enough for me to pay cinema prices to see it locally.

Michael Frayn Theatre also had the advantage of being within walking distance though the early, 7pm, start time meant leaving the house around 6:25pm and walking briskly. That early start was to allow time for an interview with the director, Nicholas Hytner, to be broadcast before the show started. That was an interesting feature and it was also good to see a little of Bridge Theatre before my first visit there.

Young Marx was set in 1850 when a penniless Karl Marx and his family and maid were living in Soho. He was supported financially by Friedrich Engels but still hid from his many creditors, usually in a cupboard. Each welcome visitor to their small lodgings had their own distinctive knock that gave them access. These many visitors included their son's doctor and a syncopathic follower. Engles was keen for Marx to write but Marx was more interested in a visiting the eighteen pubs on Tottenham Court Road.

The story continued with lots of humorous dialogue and a fair smattering of slapstick. It was consistently funny if not outrageously so being constrained by historical facts from taking too fanciful liberties with the situation. The politics at times was used as a source of humour, such as in the opening scene where Marx questions the meaning of the word "value" with a pawnbroker, and at other times it was used to give us serious insights into Marxist philosophy, e.g. a worker is paid 1s but creates 3s value giving the exploitative capitalist 2s (he is right, of course). The accurate historical and political context gave the play an intellectual backbone that made it more satisfying than a simple comedy.

Young Marx was a lot of fun and and my experiment with NT Live was a great success. Future visits are being planned.

27 November 2017

Poison at Orange Tree Theatre was steady if unspectacular

It had been a while since I had genuinely looked forward to a performance at Orange Tree Theatre rather than going out of a sense of loyalty.

The reason for that was that Poison sounded slightly difficult and I like difficult. I also liked that it was written by a foreigner as I like to see other perspective.

My enthusiasm was converted into seat Lower Floor A5 for £22.50. That was in the middle of the front row just off to the left of the picture. I was pleased to see the minimalist set when I went in, carrying a bottle of Punk IPA because there was no interval. The picture also shows the entire cast.

We quickly learned that the two people had been married but had split not long after the death of their son and had not met or spoken for nine years. Now a poison in the ground meant that their son's grave might have to move and they were at the graveyard to meet the authorities to discuss options.

For the next eighty minutes they spoke, argued and joked about their son, their parting and their lives since then. Their different reaction's to their son's death and their different reactions to their reunion drove the drama and drove it to some interesting, if not very surprising, places. The emotions fluctuated, but not a lot, and the pace was deliciously slow with many long pauses which all helped to keep a steady tension that was, thankfully, never quite relieved.

It also helped that both Claire Price and Zubin Varla delivered fine performances.

Dead children is something of a theatrical meme at the moment (which probably says more about the sort of plays that I choose to see than anything else) so many of the themes of loss and coping I had seen explored before but they were explored skilfully here which made up for a lack in originality.

I am old enough to remember Once we were Mothers (Orange Tree 2007) which handled the death of a child with more emotion and more of an impact, which is why I remember it ten years and hundreds of plays later.

Poison was a steady if unspectacular play and steady is good enough.

25 November 2017

Carmen by Ormond Opera was wonderful

I first discovered Ormond Opera in 2016 with their production of Madama Butterfly and that was so good that when they announced that they were doing Carmen then booking it was one of the easiest decisions that I have ever made.

It was still an easy decision when they announced that due to illness the performance that I had booked for had been downgraded to a full dress rehearsal.

This time I brought some friends with me and there were six of us altogether.

I have seen Carmen many times, so much so that it warrants its own tag in this blog (and I've left some performances out), so the story was never going to surprise me which meant that I could largely ignore the English translations displayed at the side and could focus on the music, the singing and the acting, all of which were superb.

The music came from just one piano and that was plenty enough sound to fill the church hall. We were warned that the singing might not be quite right but I found the exact opposite to be true, all the voices were good and many were superb. Carmen was one of those.

The acting made the performance and there were many nice little touches, several of which happened away from the centre of the action so I had to keep an eye on every part of the stage all the time. Worth a mention in this respect were Carmen's two companions who carried on their role playing when they took the curtain calls at the end.

In some ways Carmen is an easy opera to get right because it has so many good tunes in it, and it has a pretty strong story, but that is no excuse to take things easy and Ormond Opera put the work in to make this a memorable performance.

Whatever Ormond Opera do next I hope to be there to see it.

After the opera five of us retired to the Dukes Head for some serious conversations and a few beers until they threw us out at half past midnight. It was a fine and fitting end to a wonderful evening.

24 November 2017

Mother Courage at Southwark Playhouse was both bleak and heart-warming

The poster makes it clear that you are meant to see Mother Courage and Her Children because Josie Lawrence is in it but I went because it was written by Bertolt Brecht. That was plenty enough to get to to part with £20 for seat A37 in The Large.

I know I am relatively well off and that theatres are trying to encourage young people to get into the theatre-going habit but that seems to cheap to me. Almost everybody there looked to me as if they could easily afford another £5 or so.

I had done my customary research (none) and while I was expecting something with a war theme I had not expected it to the the Thirty Years War that raged across Europe between 1618 and 1648 between (mostly) various Protestant and Catholic states. My first encounter with this war was when I started working in Prague in 1992 and learned that Charles Bridge was the scene of a battle between Bohemia and Sweden (!).

Mother Courage followed the war trading with the armies as they travelled across Europe. She bought and sold items that she carried in a cart which was pulled by hand, initially by her two sons. Her other child was a mute which meant that she was not much of a marital catch and was likely to remain single.

The war raged around Mother Courage and while she was not directly involved, she traded with both armies as circumstances dictated, the war had a profound effect on her, her children and the many people they met. Many people suffered (it was a brutal war) and a few, like Mother Courage, survived. None thrived. The war brought many deaths, hardship as farms were abandoned, looting of captured towns and oppression of civilians. The war was a relentless dark presence.

The stage was set for movement being a traverse (or corridor) stage with seating along two long sides and the entrances at either end. I was sat in the middle of the front row (no surprise there).

The play told Mother Courage's story over several years in a series of scenes often several years apart. Survival meant putting up with some hard situations and also enjoying the few good times, like sharing a drink and a song with friends around a camp fire. Mother Courage's good humour provided several points of comedy too and she grabbed my knee knowingly while making a "chopper" joke.

Audience interaction like that was a feature of the performance and several people were brought into the story at various times. Another good feature was the songs. This was far from a musical but the half a dozen or so songs littered through the performance added to the variety and the entertainment.

Josie Lawrence was magnificent as Mother Courage taking full command of the stage without unfairly dominating it - the superb supporting cast were given space to flourish too. She was resolute, tender, powerful and funny. Her last act was possible her best, as she left the stage for the last time, still pulling her cart, she reached out for the hand of one of the audience and she got a warm and genuine response back.

Mother Courage and Her Children was a moving play about war that managed to find some humanity amongst the brutality. It was both bleak and heart-warming.

23 November 2017

Thoroughly entertained by Jamaica Inn at Tabard Theatre

The combination of Tabard Theatre and Daphne Du Maurier was the sort of temptation that I am not good at resisting so I willingly parted with £20 for Row A Seat 7.

I was not sure what to expect as I had not read the book and if I had ever seen a film or TV adaptation then I had forgotten it. So it came as a complete surprise to find that it was a story about smugglers, the sort that I was familiar with as a child growing up in Weymouth where Moonfleet was read by everybody.

It was a good story too with a cast of interesting characters from the brazen horse thief to a studiously pious priest. Unexpectedly finding herself caught up with dubious people and dubious activities was a young woman and orphan Mary Yellan who had been forced by her parents' death to go to Jamaica Inn to live with her aunt and her husband, the pub's landlord.

In an impressive cast Kimberley Jarvis was brilliant as Mary, the lost girl who developed strength and found a purpose. Helen Bang also shone as Mary's aunt who suffered under the bullying of her husband but somehow managed to find solace in that.

The story had me gripped and while some of the plot turns were not a great surprise the final ending was always in doubt until we got there and the tale was told with lots of drama. There were a few songs thrown in too which was a fine addition.

Jamaica Inn was a thoroughly entertaining evening thanks to a good story, a cast of strong characters all brought to life by fine acting and a production that provided plenty of action and kept the pace going.

14 November 2017

Heisenberg: The Uncertainty Principle at Wyndham's Theatre

One of the Google Alerts that I have is for Simon Stephens so I got an early warning of his latest play, Heisenberg: The Uncertainty Principle, and duly paid £39 for seat A15 in the Grand Circle.

It was ninety minutes straight through which allowed an 8pm start and that gave me plenty of time to go to Govinda's for a curry and Pret for a coffee beforehand.

Surprisingly the theatre was not full and that meant an upgrade from the Grand Circle to the Royal Circle. This has happened to me a few times at theatres and while the upgrade is always nice I would rather that the theatre were full.

The feedback on social media had given me little clue on what to expect so I sat down ready to be surprised.

Heisenberg: The Uncertainty Principle is the tale of two people and they are the only two people who appear in it. He was a traditional seventy year old and she was a flighty forty-something. In almost her first sentence she apologised for he foul language which set the scene for some of Stephens' trademark swearing though there was a lot less than in some other plays.

In some ways it was a simple story about the two people told chronologically but it was delicately spiced with some surprises. The play's title comes from the principle that if you observe an elementary particle you cannot know both where it is and where it is going and the woman remarked that she watched her son so closely as he grew up that she always knew where he was at that time but could not see the direction that he was travelling.

That principle applied to us too, as we played close attention to the characters' words and actions it was not possible to see where their story was going.

Their journey through the hour and a half had a mix of emotions and moods. Most of them were happy and light and there was a lot of proper laugh-out-loud humour along the way. This was especially true at the beginning when they clumsily got to know each other.

Both the stars, Anne-Marie Duff and Kenneth Cranham, were excellent and made me care about them. I wanted them both to have a happy ending and I was interested in everything that happened to them along the way.

The staging was neat with just a few props, things like benches and tables, rising out of the floor while the walls moved and the lighting changed to show us the different places that the story took us to. It appeared simple, though I am sure that it took clever mechanics and electronics to achieve that, and it was very effective.

Heisenberg: The Uncertainty Principle was an interesting and unusual tale told in an engaging way. I loved every minute of it.

10 November 2017

Hawklords at 100 Club (2017)


Hawklords are one of the select few bands that I try to see whenever they play a local venue, which in recent years has been once a year in November. I saw them at the 100 Club on 8 Nov 14 and 6 Nov 16. They played a different venue in November 15 but I had to miss that as I inadvertently booked a holiday for that time.

All the chatter on social media before the gig was about the absence of long time Ron Tree from the tour and I was curious to see what the line-up would be. In the end there was no surprise and the remaining four band members (Jerry Richards, Tom Ashurst, Harvey Bainbridge and Dave Pearce) shared the duties with Jerry doing the lion's share of the work.

Despite leading the team on both vocals and guitar, Jerry took his usual position on the right of the stage with bassist Tom taking the central position and Harvey on the left. The use of a projector meant that only the centre of the stage was lit and that meant only Tom.

Presumably as part of a deliberate plan, Jerry, Tom and Dave all wore black allowing Harvey's psychedelic shirt to stand out even more than usual despite being in relative darkness.

I took a photo of the setlist before the performance and the only tracks I recognised were Right Stuff and Ejection, both oddly from the Bob Calvert side project Captain Lockheed and the Starfighters which none of Hawklords worked on. There were four (out of seven) tracks from their latest album, Six, and three from their previous album, Fusion.

Not knowing the songs did not matter as the sound and construction were familiar enough. Each new tune and rhythm was quickly learned and enjoyed. This was music to dance to or, in my case, sway slightly from side to side to. At times they sounded more like seventies Hawkwind than Hawkwind do these days.

Hawklords played sixteen songs altogether in a set that lasted almost two hours. You do the maths. It was a mighty fine two hours too with Hawklords doing everything that the enthusiastic (and well behaved this time) audience expected and hoped for. It was a very loyal following too and there was an impressive number of Hawklords t-shirts on show.

I suspect that it will be another year before I will be able to see Hawklords again. Not ideal but far better than not seeing them at all.

9 November 2017

Rules for Living at Rose Theatre was an entertaining romp


Rules for Living sounded like a simple comedy and while I would not normally travel very far to see a play like that Rose Theatre is only a pleasant forty minutes away so I decided to go. I managed to get a seat in the dead centre of the first proper row, A37, for £30.

The situation was simple and familiar, two thirty something sons and their two wives/girl friends and one daughter were visiting their parents for Christmas day. There were a lot of family issues, a failing relationship, jealousy, expectations, abandoned dreams, etc. etc. that were gradually exposed as the day progressed.

The main trick of the play were the rules for living; these were real rules, such as Matthew has to sit down to tell a lie, and they appeared on a display board above the stage. These rules were a good source of humour in their own right, for example, when Matthew was asked an awkward question and he looked around for somewhere to sit then you knew that he was about to tell a lie and that anticipation was part of the fun.

Like a good farce, Rules for Living started fairly slowly as the characters were introduced and the situation was set and then things escalated quickly and deeply. The pictures on the far left and right in the poster above gives some idea of how bad things got, but the journey there, shown in the middle two pictures, was where most of the fun happened as the rules became more complicated and the characters became more extreme. Carrie's robot dance was a joy to behold.

Rules for Living was an entertaining romp through a family's strained relationships given an added twist by the use of real rules.

8 November 2017

BCSA "Get to Know You" Social (November 2017)


This new job (if it still is a new job after eighteen months) is working well for me in that I am working almost exclusively in London and so there is little disruption to my social life. This means that I can go to a lot of theatre and also that I can attend the BCSA "Get to Know You" Socials almost every month. I like that.

It was a smaller group than usual this month which meant that for a lot of the time we could have just one conversation. For reasons that social scientists can probably explain, when we have a dozen or more people we break up into conversational groups of two, three or four people but with seven people we remained in a single group. I liked talking in a larger group as it added more perspectives to the conversation and also meant that I had to do less talking!

This month we talked a lot about bad weather, prompted by various people travelling to Czechia or Slovakia in the next few months. One of those was a first-timer to the socials and Ruzena did a fine job in persuading him to join the BCSA and to come to the following week's Annual Dinner.

Everything else about the evening was enjoyably familiar from the Pilsner Urquell to the Smazeny Syr. I'll be going back on Wednesday 13 December for another helping.

4 November 2017

Brutal Cessation at Theatre503


I had seen Brutal Cessation before, and not that long ago, but circumstances then had not been ideal and I wanted to give it another chance, particularly as it was playing at Theatre503 which is one of my very favourite theatres and is also where I first encountered Milly Thomas (as an actress in Animals). It was a late booking made on Saturday morning for a Saturday matinee performance. £12 secured the deal.

I got to Theatre503 the interesting way which meant catching a slow train to Queenstown Road Battersea then walking back through Battersea Park. The walk was leafy and damp and somewhat directed by the miles of crash barriers assembled for the fireworks display that evening.

The nicely timed walk got me to the theatre about ten minutes before the performance started. Time for a pint and I felt pleased with myself that I avoided that temptation.

Careful positioning in the waiting area got me my usual seat in the middle of the front row. The couple were already on stage but asleep. I kept quiet until the play stared.

Brutal Cessation was a series of scenes between a couple with no sense or suggestion of chronology. They could be played in almost any order. They change in mood from the playful to the threatening to the near absurd. Themes, words and attitudes are repeated, swapping from one person to the other as they do so. It is a study in how two people behave with their loves, fears, humours and failings.

Keeping it all together and making it utterly believable were the two excellent performances by Alan Mahon and Lydia Larson. The little movements and expressions made all the difference.

Without a story, Brutal Cessation required an appreciation of theatre-craft which the audience clearly had and the performance was roundly cheered at the end.

It was the sort of play that I enjoyed but found hard to articulate why afterwards. There is no simple conclusion to the sentence, "You must see Brutal Cessation because ..." but a long sentence would go on to mention the construction, the characters, the dialogue and the relevance.

Despite crossing Milly Thomas' path a few times I had never had the opportunity to speak to her before so I made the effort to do so after the performance. Sadly I was somewhat in awe of her and in a few brief sentences I think that all I did was convince here that I am either an imbecile, a stalker or even both. I hope that I'll get an opportunity one day to try and correct at least one of those impressions.

3 November 2017

Thor Visionaries: Walter Simonson Vol. 1

It was in 1983 that Walter Simonson began his legendary run on Thor with issue #337.

I was readying Thor at that time simply because I was reading everything published by Marvel and DC that was distributed in the UK and Simonson's work blew me away from the start.

I've culled my comics collection a couple of times since then but I have kept all the Simonson Thor issues. He kept on as both writer and artist until issue #367 and as a writer until issue #382.

When Marvel (through ComiXology) had a sale of every issue of Thor I had to get some Simonson issues just to read. The easy way to do it was to buy Thor Visionaries: Walter Simonson Vol. 1 which collects the first year, issues #337 to £348. That is 283 pages of comics genius for a pittance.

Indeed the money was not even a remote consideration. My only concern was whether I would ever find the time to read them again. I hope that I do.

In the meantime I am toying with the idea of buying the next volumes in the Thor Visionaries series. I am particularly keen to read issues #360 to #362, The Death of the Executioner, because that story has stuck with me for over thirty years.


Update: Writing the above left me with no option other than two buy the next two collected volumes which gives me the run from #337 to #369 to reread.

2 November 2017

For Love or Money at Rose Theatre


This is another one that I almost at Rose Theatre because of their bad publicity. I was in the theatre cafe for something else when I saw a pile of leaflets for the show and I recognised Barrie Rutter immediately. I had seen a few Northern Broadsides' touring productions in recent years and that was enough to convince me to see another one. I went for my usual place, A32, and paid £30 to do so.

For Love or Money was an adaption of a French farce, Lesage’s Turcaret apparenty, which meant that I knew what to expect, something funny that would not be too demanding on the intellect. And it was just that.

The situation was a young woman living beyond here means and surviving on the generosity of one admirer, a dubious banker much older than her, while being fleeced by a younger man, a rascal at best, that she had fallen for. That man had a partner in rascality and there were a few other maids and such like.

Most of the humour, and there was a lot of it, came from the larger than life characters who behaved extravagantly and ridiculously. The situation got more interesting too as wives turned up, people pretended to be other people and illicit encounters were recalled.

I went to see For Love or Money for some simple good humoured entertainment and that is exactly what I got.

1 November 2017

I am an ESTP

I had to do a Myers-Briggs test for work and while I am extremely sceptical of such things I took it seriously and answered honestly. As when I did a Belbin test ten years ago, I found the simplicity of the questions difficult given the complexity of real life and in many questions the correct answer would have been, "It depends on the situation", but I had to give one simple numerical score. I tried to answer for an "average" situation but I am not sure that I succeeded.

The end result is that I came out as an ESTP.


As with the Belbin, I recognise some of this but less so. Thinking and Perceiving I have no quarrel with. Sensing is not bad but the word "traditional" surprises me a little. Extraverted I do not get. Some of that is true some of the time but I do not see that as a fair summary.

It did not help that the evaluation tool helpfully listed some famous ESTP people that I could compare myself to.


This was not a good day to be linked to Kevin Spacey.

31 October 2017

The Lady from the Sea at Donmar Warehouse was clinical and cold


I keep going to see Ibsen plays in the hope that I will understand what the magic is and start to appreciate them more but it has been a mixed journey so far and while some productions have been reasonable none have been exceptional and others have been disappointing. This was one of the reasonable ones.

It was a late decision to go and see it. I had a free evening, had seen decent reviews (I do appreciate that theatres only share the good ones) and there was a lone free seat in the middle of the Circle (A37) so I forked out £30. It was a good seat, even if the woman next to me spent the whole evening trying to eat sweets quietly and failing.

This was a new version of The Lady from the Sea and the biggest change was moving the Norwegian characters with their Norwegian names to the Caribbean. Not sure why. I had only seen the play once before so I did not expect to catch many of the differences.

The Lady herself was played with much aplomb by Nikki Amuka-Bird and the rest of the cast did a fine job too. I particularly enjoyed Ellie Bamber as Hilde, the Lady's younger step-daughter, and that have been because as the young cynic she was the most believable character.

I liked the set too with it's simplicity and its quirky water tank that contained a model of an island with a submerged boat and houses.

The acting and production were unable to rescue a play in which the characters are not believable and the story does nothing. In the best part of two uninterrupted hours there were no wow moments and there were no characters that I cared for, except (possibly) the eldest step-daughter and the play was not about her.

The Lady from the Sea was well constructed but lacked any emotion. It was clinical and cold. I admired the professionalism of the production and enjoyed the story but it left no last impression.

27 October 2017

Aida at ENO was Grand Opera delivered grandly

To Be Honest, the only reason that I went to see Aida at ENO was because I had to book tickets for three operas in order to book early for Satyagraha.

I had seen a version of Aida before at ENO and then I had gone mostly for the Zandra Rhodes set designs and costumes, which turned out to be the best part of that show.

Despite those misgivings I forked out £51 for  Upper Circle Centre A31. A pretty fine seat.

The monochrome poster suggested a very different performance this time, and it was. Not quite as visually striking as the poster suggests but then I've learned not to trust posters and it was still striking.

The tone was a mix of colonial and ancient which has been done before and which has worked before and which worked well again this time. The colonial costumes with their military motifs grounded the story in familiar territory and the ancient flourishes, particularly the hats, added the period authentic and another layer of grandeur.

This Aida was a production immersed in the spectacular with grand scenes, large choruses, many extras and some circus performers. It was Grand Opera delivered grandly.

Of course, as I always say, opera is all about the singing and this Aida was far far better than the last ENO production which confessed to being hit by illness. There was only one voice that caused me any issues at all and that was only for consistency of power, she could really belt the notes out when called upon to do so but was a little quiet at other times. That was one small weakness in a production with several soloists and, overall, the singing was superb.

Aida was a fine example of what ENO can do and I like what it does.

26 October 2017

A Day by the Sea at Southwark Playhouse was delightful

I did not go to see A Day by the Sea just because it was set in Dorset but that helped. The biggest draw was that the playwright, AC Hunter, was described by Southwark Playhouse as the English Chekhov.

The final draw was Southwark Playhouse itself. It's a cosy theatre in a convenient location that consistently presents interesting plays.

All that was enough to persuade me to part with £20 for Seat A7 in The Large.

That seat proved to be a little bit of an issue. The layout of the theatre changes for every performance, which is fine, and the booking system suggested that it was laid out this time in traditional theatre format. This was almost true but the stage was not across the whole width of the seating and in A7 all the stage was to the right of me. That was ok, if unexpected, for me but an issue for anyone in seats 1 to 6.

A Day by the Sea was basically just that, a group of family and friends spent a day by the sea somewhere in Dorset (Dorchester was mentioned). We also saw some of the day before and a little bit of the day after.

The Chekhov comparison was immediately obvious from the large cast of characters and that one was a doctor who drank a lot. The central character and, therefore, my star of the show was the elderly woman, played wonderfully by Susan Tracy, who owned the house. Staying with her were her frail older brother, her son on holiday from his diplomatic job in Paris, a woman she had taken in as a young orphan girl who was visiting with her two children. There was also the doctor, a solicitor and a maid.

As with Chekhov, all of the characters had their own stories and their own ambitions. The main thread was the son and the young woman renewing their connection to each other having grown up together at that house before parting twenty years previously. Those twenty years had not been kind to the woman who had been through two marriages and had been touched by scandal along the way. This led to the best line of the night, "When you've made a bad decision the last thing you need is good advice." She was talking about relationships but I was thinking about Brexit (and her relationships).

Because of that story line the other actor/actress who made a big impression on me was Alix Dunmore, the shamed woman. It helped that she wore some gorgeous outfits.

A Day by the Sea was a rich tapestry of characters and their stories, some dark, some trivial, some funny and all engaging. It made for a delightful evening.

17 October 2017

Tryst at Tabard Theatre was a lovely play in a lovely theatre

Tabard Theatre is conveniently situated above a decent pub and while that is by no means the only reason for going there it certainly helps as I enjoy my theatre more if I have been properly refreshed beforehand.

The pub has its limitations, the service tends to be slow due to a poor staff to customers ratio and the food choice for vegetarians is very restricted, but it has a good range of beers, a perfectly acceptable Asian veggie burger and a welcoming atmosphere.

Tabard had implemented allocated seating and as the holder of Seat A4 (£19.50) I did not have to rush upstairs early to  ensure a good seat.

When I did go upstairs it was very bury. The box office desk had moved again and, somehow, one end of the narrow corridor had become a bar. The combination of people queuing to collect tickets and people enjoying a drink made the entrance area somewhat crowded. It was bit of a struggle to get into the theatre but I would much rather that the theatre was busy than it was easy to get into.

Tryst told us the story of George Love and Adelaide Pinchin. At first their stories were separate and they spoke to us directly, George explained how he conned women into marrying him and Adelaide how she worked at the back of a milliner's shop. We squirmed as George explained and then implemented his plan, he was the archetypal baddie and all our sympathies were for young vulnerable Adelaide.

For the next hour or so George's plan developed much as he told us it would and we hated him more and felt more sympathetic for Adelaide.

Then things changed.

I cannot say much without spoiling the surprises (there was more than one) but I can say that the relationship between the villain and victim changed gradually as they spent more time together and then, suddenly, something dramatic and unexpected happened. Finally, the writing on the wall (literally) completed the drama. I loved the story.

I loved the characters too. Natasha J Barnes got top billing because of her high profile stand-in role in Funny Girl and she was very good as the young woman that we all felt sorry for. Fred Perry was equally impressive as the suave and callous villain. I didn't like what he did but had to admire the way that he did it (mostly).

Tabard is a lovely little theatre and Tryst is a lovely little play.

16 October 2017

The Incredible Hulk #189

With Marvel relaunching all their main titles (again) and returning to their legacy issue numbering they have been having a number of quick sales where every issue of the comic has been available.

This is proving to be moderately expensive!

Luckily for both my wallet, and my unread pile, not many of the collected editions of The Incredible Hulk were available and none from my Hulk Golden Age of reading black and while reprints in The Mighty World Of Marvel in the late 70s.

That left me with the options of buying s shed load of single issues which would have come to quite a price, even in a sale, or to buy just a few as a reminder of the good days.

In the end I went for just a single issue, #189. I wanted something with Herb Trimpe artwork and his run with writer Len Wein because of the humanity in those stories.

I remembered this story some forty years after first reading it so that was the one that I went for.

I very much enjoyed reading it the second time too.

14 October 2017

The Beauty of Chaos Tour with Martin Turner ex Wishbone Ash at 100 Club

I am quite happy to see either of the current versions of Wishbone Ash but the way that their touring schedules have gone meant that I had not seen Andy Powell's version since April 2011 (at The Brook in Southampton) and since then I had seen Martin Turner's version three times. This made it four.

The tour advertised a full performance of Argus which seemed a little unnecessary as they had played it the last time that I saw them and at least once before then. I'd also seen Andy Powell's version play it in 2008.

Not that playing Argus again was any sort of problem. It is Wishbone Ash's classic album (from 1972) and all the tracks deserve to be played often.

The 100 Club was packed. So much so that we had to queue in the street above for several minutes before being allowed down the steps into the venue. There was only one person checking tickets and that seemed to be an unnecessarily slow process. Still, I got in before the band started playing and with enough to spare to treat myself to a decent pint of Dead Pony Club from BrewDog.

However, I was not in early enough to get to the front of the stage and so I had to find somewhere else to stand and the famous pillar in the middle made that an issue. In the end I found a reasonable spot on the centre-left about four rows back. That was close enough to see some of the band and far enough away from the constant talkers at the back (why do people do that?!) to hear the music clearly.

I took just one picture towards the end of the concert to prove that I was there and to capture something of the evening. This is it.



Of course the camera does not capture the music and that is what the evening was all about.

Martin Turner's Wishbone Ash were on excellent form playing extended versions of famous songs with skill and joy. The sound system was in fine form too and I could hear all four instruments clearly and distinctly. That mattered, as the Wishbone Ash sound is the sound of three guitars playing with, against and off each other.

I was most definitely not clock-watching but I think that Wishbone Ash started playing around 8:45pm and kept going for all but two hours, including an encore containing four songs as the calls for "one more" were heeded.

Martin Turner ex Wishbone Ash did what they came to do and they did it rather smartly.

13 October 2017

Rosie Wyatt sparkled in In Event of Moone Disaster at Theatre503


I had high hopes for In Event of Moone Disaster. I love the programme at Theatre503 and this play was selected by them in an international competition so I was expecting something in the Theatre503 style backed by the assurance of the very competitive selection process. And it starred Rosie Wyatt who qualifies for a tag (Wyatt) in this blog as I have seen her act in several plays in a fairly short period.

All my hopes were met or exceeded.

In Event of Moone Disaster was a cleverly constructed family story about a man who was conceived as man firs landed on the moon (possibly fathered by an astronaut) who then fathered a woman who was going on the first manned (personned?) mission to Mars.

The three generation story was made more complicated, and more interesting, by Rosie Wyatt playing both the woman going to Mars and her grandmother, and by the story flipping between the generations. As always with these structural devices, they either work or look pretentious and in this case it worked beautifully.

In one particularly memorable scene Rosie played the aged grand mother and her younger self switching between the two as the old woman remembered scenes from her earlier life. Again that might sound unnecessarily complicated but it worked both as a scene and within the context of the play.

The cast were all excellent but it was Rosie Wyatt that I had gone to see and she was magnificent giving the sort of performance that first made me take notice of her in Blink and Spine. She had done well enough since then but I never felt that she was stretched or given the opportunity to shine in the other productions so it was lovely to see her in full force again.

The story developed nicely too and I was genuinely interested in what happened to all of the characters. It was a very human story about going to the Moon and to Mars.

11 October 2017

BCSA "Get to Know You" Social (October 2017)

The months seem to be very short at the moment and so the monthly BCSA BCSA "Get to Know You" Socials, every second Wednesday since you asked, come along with brisk regularity, and a pleasing regularity.

October's social had all the usual features, including the now mandatory picture of my smazeny syr and plenty of good conversations. It also had something a little different.

One of the guests (if that's the right word) had just been to a workshop associated with World Values Day (20 October) and was keen to do something with the BCSA. That something started with an unnecessarily heated discussion on what "values" are, which was entirely my fault.

After arguing over the difference between principles and worth we agreed that we could do something with the question, "What do you value about the BCSA?". Having reached consensus I was happy to go first and you can see the result below.

Other people came up with similar themes like "Friendship" but perhaps the most imaginative response was "Czech Beer".

The values idea worked well and we are looking to do something similar at the Annual Dinner. When I say "we" I really mean "Agata" whose idea it was an who did all the work. Thank you, Agata.


The rest of the evening was as good as you would expect an evening with a community of interesting people to be, especially one fuelled by excellent Czech and Slovak beers (4 x Pilsner Urquell and 1 x Zlaty Bazant).

Wednesday 8 November is not very far away.

7 October 2017

Lucy Light at Theatre N16 sparkled

I was always going to see Lucy Light.

My chance encounter with playwright Sarah Milton on a train had led me to see her excellent Tumble Tuck at Soho Theatre last year and that made her next play, Lucy Light, unmissable.

So unmissable that I went to see it on a Saturday evening, not normally a time that I go to the theatre but it was the only free evening that I had. Not for the first time I caught a play on its last performance. I like to think that is good planning.

Tickets were a miserly £14, less than three pints in the pub downstairs where my Meantime London Ale was £5.5 a pint.

We were first in the queue upstairs, reasoning that we might as well sit and drink there as downstairs where the bar was noisy with music and Saturday revelry. Unexpectedly that also meant a chance to talk to Sarah before the show. She even remembered us from the train.

Being first in the queue meant securing our coveted seats in the middle of the front row where we faced a girl's bedroom with sand on the floor.

The girls were seventeen and celebrating the end of school. Lucy did so with some reservations as she was worried about her mother who was having chemotherapy for breast cancer. Lucy also carried the gene that increased the likelihood of her getting this.

We got a teenage girl's view of this as she was very interested in boys, particularly Gary, and saw her breasts as an important part of her attractiveness. That theme, the good and the bad of breasts, continued throughout the play as we watch Lucy and Jess grow to be 22 then 26. They talked about their hopes, dreams, fears and all the little things that make up ordinary life, like the flavours of Ryvita available from the local Sainsbury's (apparently they come with pumpkin seeds these days).

Several dramatic things happened which the spoilers rules prevent me from mentioning, but they concerned breasts and cancer. Many less dramatic things happened too, like jobs and walks on the beach, and it was this richness of experiences seen through the eyes of two young women that made Lucy Light sparkle.

Bebe Sanders (Lucy) and Georgia May Hughes (Jess) were both excellent. They were totally convincing as 17 year old girls and as 26 year old women and we saw them age with just a change of clothes, an adjustment in hair styles and good acting. I was impressed.

Being the last nigh there was some hanging around in the bat afterwards so I invested another £5.5 and heaped more deserved praise on Sarah and Georgina; sadly I missed Bebe.

Lucy Light was simply one of those plays that did everything right. It tackled a challenging subject with sympathy and was entertaining as it did so.

I do not know what is going to happen next to Sarah but after Tumble Tuck and Lucy Light it should be something special and I hope that I will be there to see it.

28 September 2017

Sparks The Hippopotamus Tour at O2 Shepherd's Bush (28 Sept)

Not for the first time I went to see Sparks two days in a row.

This time it was just Pete and myself and we went for the stalls to be closer to the band, to be amongst other fans and to have the opportunity to dance a little.

We got into the queue about 15 minutes before the door opened which was nothing like early enough to get on the rails but we were only a couple of people back and I had a decent view of both Ron and Russell all evening, though I had to work a little to defend it from a woman who kept leaning into me. I took the contact rather than concede the space.

The chance meetings continued and among those who had queued early (being there at 3:30pm was not good enough to get to the front apparently) were a couple who used to live around the corner from me and who once gave me tickets for a Sparks radio interview that they could not make. They had moved away a few years ago which explained why I had not seen them for a while.

It was quite a long wait for Sparks, over two hours in total, yet the time passed easily enough despite the somewhat unusual support act and a very bland pint of Tuborg Green, a beer I will always associate with with working in Denmark (Hjorring).

The set list was, unsurprisingly, almost identical to the day before. There were eighteen songs plus two encores on both nights but two songs, numbers four and ten in the running list, were changed. I am not going to pretend that I wrote that from memory, I am relying on setlist.fm which I have often found to be a useful resource.

I was there to be in the crowd and to dance a little so I deliberately did not try to take many photos, just a couple like this one to prove that I was there.

The sound and the performance were much the same as the day before and they felt better from the stalls where it was easier to join in with things like the "1" symbol during disco-classic The Number One Song in Heaven.

The set list and the supporting band were different from previous years but this was still a familiar Sparks concert and was a boisterous and bouncy feast as always.

I left the concert hall very happy (again) and made my way to Hammersmith station and an Underground train to Richmond. The chance meetings continued and I bumped into a friend from the BCSA on the platform as he changed trains. The District Line broke suddenly and I was forced onto a bus. On the bus I met James from work who sits on the desk opposite me. He had been to see The National at Apollo and had never head of Sparks. I was happy to send him a few links to start to fill this sad gap in his education.

During the curtain call Ron explained how important the UK was to Sparks in getting their musical career going and we have maintained our mutual attraction over forty years so I am confident that whatever Sparks do next that they will come back to London to showcase it. I am waiting.

27 September 2017

Sparks The Hippopotamus Tour at O2 Shepherd's Bush (27 Sept)

Sparks concerts in London are mandatory so I was very pleased when Sparks announced that they would be playing the O2 Shepherd's Bush (formerly the Shepherd's Bush Empire) as part of The Hippopotamus Tour to promote their new album.

Various friends were keen too and I volunteered to do the booking. There were some old ladies in the group (both younger than me!) so the decision was made to go for seats in Level 1. A bargain at £30.

The four of us were travelling from different places and we all met up in the pub next door, now called The Sindercombe Social. They did a decent veggie burger and beer which did the job nicely. It was there that two days of unexpected meetings started so I'll take a alight detour and talk about those first.

Three of the four of us went and joined the queue while I finished my food. A couple soon asked if they could share the now largely empty table and I agreed. She was wearing a black and white hooped top so I made the comment that she must have got the email about the dress code. Her reply came in a smooth Scottish accent so I quickly confessed that my top was really an Alex Harvey one, to which she replied that she knew one of the band (Max)! A quick selfie was taken, posted to Facebook and Max was tagged in the conversation.

In the auditorium Pete found himself two seats away from somebody he knew from going to other gigs, Julie was sitting next to somebody who she would be sitting close to at a Midge Ure concert and sitting in the same row as me was somebody that I knew through my Knowledge Management activities. I texted her while waiting for the convert just to say Hi and then we bumped into each other on the way out.

We shared the bus back from Richmond with Paul who I see little of these days after he moved away and our meeting place, The Hand and Flower, had stopped being a place to meet.

Back to the concert.

This was a rocky Sparks with Ron and Russell backed by three guitars, another keyboards and drums. The band wore black with white hoops, Russell wore white with black hoops and Ron wore a lovely jacket that was an equal mix. Many people had picked up on the style from videos of earlier concerts and, like me, wore hoops of some kind.

The set list, as expected, relied heavily with the new album, The Hippopotamus, with a decent smattering of hits from the last 40 plus years. It was particularly good to hear When Do I Get to Sing "My Way", as it always is.

The set mixed moods nicely and there was space for quieter numbers like Never Turn Your Back on Mother Earth, another favourite of mine. The changing moods was done best at the end of the main set where two blistering performances of The Number One Song in Heaven and This Town Ain't Big Enough for Both of Us (probably their two biggest fan favourites) were followed by the gentle Life with the Macbeths from the new album.

The Number One Song in Heaven also featured the Ron Dance that was eagerly anticipated and enthusiastically cheered.

They had to come back and it was a pleasant surprise to hear Johnny Delusional from their FFS days collaborating with Franz Ferdinand before they closed with a rousing Amateur Hour, another popular track from the legendary Kimono My House.

Sparks made the evening complete by taking this selfie with the audience. I can just about find myself on the first level just to the right of the central aisle and a few rows from the front.


It was an astonishingly good evening for so many reasons. The music was obviously the main factor but the sheer good heartedness and joy of it all was very important too. It was like having afternoon tea with a favourite aunt where you enjoy her company and also that special cake she baked for you.

24 September 2017

More Neil Young wonderfulness from The Honeyslides at The Half Moon

My excuse for seeing The Honeyslides used to be that it was a rare opportunity to hear some Neil Young songs played live and while that is still true I can now add that I wanted to see The Honeyslides.

This was my third time seeing them and after the first two I was very keen to see them again. So much so that I was happy to make the epic journey to Putney (two buses) and pay £10 for the privilege when I have plenty of opportunities to see covers bands for free within walking distance.

The 8pm start meant a 7pm bus which then left time for a first pint of Wimbledon Somethingorother before the doors opened at 8:15. I had two more later.

The waiting was enlivened by the chaos of the pub quiz in which the golden rule of writing your own questions was broken leading to much confusion and some comedy.

The timely arrival and some astute defending of my position got me into the music room first. My plan was to take a seat just to right of centre of the stage, as I had been left of centre last time, but the two table on the right were reserved for family members so it was the one just left of centre again.

I was not clock watching but I think that it was around  8:45pm that they started playing and they played non-stop until just after 11pm in a blistering set that went electric, acoustic and then electric again. It was a typical, for them and for Neil Young, mix of greatest hits and some surprises.

As last time I just noted one word from each song for the set list to save time writing and this is what I wrote: tonight, palomino, winds, cinnamon, hurricane, winter, river, alabama, revolution, words, highway, gold, moon, comes, old, rose, sugar, loner, thrasher, needle, castles, powder, cry, walk, cowgirl, dance, ohio, tonight (reprise), southern, rocking. This time my standout track was thrasher for several reasons.

There were a few technical snafus, a bit of technology broke and so did a guitar string, but the band kept playing until things were sorted and everything was fine. Better than fine actually.

It was another excellent evening thanks to Neil Young for writing the songs and The Honeyslides for playing them so well and for corralling them together into a great set.

23 September 2017

Follies at National Theatre was a great production of an average musical


The attraction of Follies was obvious, it had Imelda Staunton in it. It also helped that it was written by Stephen Sondheim. The final clincher was that it was on at National Theatre which is comfortable, convenient and cheap (compared to the West End). I was keen to see it.

So were lots of other people and I had to rely on a friend's help to get tickets. She was a member of NT and was able to get tickets before they went on general sale. Thanks Julie!

Heavy demand meant little choice of seats and I was very happy to pay £41 for Stalls H2. The Olivier Theatre has an odd shape with wings on either side of the stalls and I was in one of those. Despite being almost at the edge the view was very good, the curved shape of the stage helped as did the slightly elevated position.

Follies was a simple tale of two young women and men who met at Follies and got married. Several years later they all met again at a reunion and they both revisited the early days and considered their current situations. The relationships between the four had been "it's complicated" when they met and had stayed that way.

Possibly the most successful part of the production was the way that different actors were used to represent the characters then and now with both generations often on stage at the same time as a story starting in the present moved to the past.

The stage performed wonders in keeping the flow of the story while conjuring different scenes from different times. Key to this was the way that it rotated, which also helped those of us in the wings to see the action clearly.

The Sondheim music was much as expected and the lyrics were more so. Perhaps I had not listened to them so carefully before or perhaps they were just delivered better this time but I was hit by line after line of striking prose with phrases like "I should have gone to an acting school. That seems clear" and "Constantinople has Turkish baths, And Athens that lovely debris.".

Delivering the clever lines was an excellent cast. Follies spread the singing duties widely and no one person dominating. Of course most eyes were on Imelda Staunton, and she shouldered that responsibility with ease, but the singing and acting were universally good and there were several stand-out moments that did not involve the central four characters.

The story and music of Follies were good enough, if nothing special, and everything else about the production was excellent. Follies tried hard to be a spectacle and it succeeded.

19 September 2017

Juliet Stevenson flies brightly in Wings at Young Vic

Wings attracted me because it starred Juliet Stevenson and by the same team that did the remarkable Happy Days in 2015.

Booking was quite confusing. Online I was told that I had a seat in "Zone B - Best available" for £20, i.e. I did not have a specified seat number at that time. Because of the confusion I went to the theatre before eating in Culture Grub next door. Then I was given a ticket that said I had seat A49.

Half an hour later on entering the theatre I found somebody else sitting in my place. That was fair enough as his ticket also said A49. An usher took our two tickets away and when he returned I was given A49 again and the other man was reseated somewhere in row C.

The stage was similar to that used for Yerma, a high stage ran from left to right with seating on both sides. The floor was at about eye height. Not ideal but at least there was not the glass wall between performers and audience that Yerma had.

Wings was a simple play about an elderly woman, Emily, who has a stroke while reading comfortably in her armchair and then fights to recover some of her lost facilities. There are conversations where she goes unheard by the staff trying to help her and later, as she recovers a little, there are conversations consisting of gibberish. It is an intense and emotional portrayal of what it is like to have a stroke and Juliet Stevenson was superb as Emily.

The production did not help. Emily had been an aviator so Juliet Stevenson was given wires to fly above the stage and she wore these for most of the 75 minutes that the performance lasted. It was quite a sight to see her flying and spinning above the stage but I found it something of a distraction and I would much rather have seen her act being in the air than actually being in the air. It did not help either that I had to look even further up to see the action.

It was easiest just to ignore that flying and to concentrate on Juliet Stevenson instead. And that was a very rewarding thing to do.

18 September 2017

Revisiting Thebes Land at Arcola Theatre because it is still exceptional


I do not often go back and see a repeat performance of a show but Thebes Land made such a good and strong impression on me the first time around that I had to see it again when it was revived for a second run. Quick booking got me 1 Full Price ticket (Ground Floor: A19 (Aisle Seats, Arcola Best Seats)) for £22, a snip. Last year it was only £19 and that was a ridiculous steal.

Usually when I see a play I have little or no idea of what to expect but with Thebes the situation was different. Not only had I seen the same production less than a year previously I also read my blog post of that to remind myself of what I thought at that time. Despite that I was still surprised at just how brilliant Thebes Land was. I was expecting something exceptional and it was better than that.

A second watching just brought home to me just how much was going on in the play and I noticed things that I had not spotted the first time. Some examples.

One short scene about the prisoner's rosary beads was presented four times. First we saw it as it happened with the prisoner and the playwright. Then we saw an almost exact copy with the actor and the playwright. Then the playwright added a Whitney Huston CD to the scene. Then, finally, the actor built on that to produce the final version of the scene. It was fascinating to watch and also opened the question of how many other versions of this scene had been tried before these four were selected for the play.

Throughout the play the question was asked, what is the time?, and the answer was always 5pm until the final time when it was 1 minute past. It was only a little touch, but a nice one.

The tempo of the play varied more than I remembered and I particularly liked the slow scenes where the action actually stopped for long moments.

Thebes Land was stupidly rich with great ideas and I loved even more the second time because of that.

I was extremely lucky to grab a few quick words with Trevor White (the playwright in the play) afterwards. These were mostly me struggling to find the way to say how much I loved the play but there were some nuggets of content in which I was surprised to learn that this version of the play was slightly shorter than last year's, through cutting some scenes, and was pleased to learn that I was right about the greater emphasis on tempo.

15 September 2017

Prism at Hampstead Theatre was wonderful theatre



The main reason that I wanted to see Prism is in the picture, Robert Lindsay, and there was plenty else to recommend it, not least my previous experiences at Hampstead.

Not sure what happened with the booking but somehow seat Q6, in the back row cost me an unbelievably low £25. Not sure what happened on the evening either as i was given the slightly better seat of P7. I only notice that now when writing this up.

Hampstead Theatre sits almost on top of Swiss Cottage underground station but going that way means going via Waterloo and that always seems wrong. Besides, there is no much walking that way so I went via the Overground and West Hampstead instead. The tube map is immensely unhelpful in that part of London as it does not follow the geography closely at all and it is only through walking around there that I have learned alternative routes.

There is not much in the immediate area of the theatre so I rely on the cafe there for food and drink. Sadly they closed the kitchens a while ago so hot food is no longer an option. Luckily I was able to find a fancy open sandwich. It was pricey but tasty and did the job. The bottle of Camden Pale helped too.

In Prism we see a former film maker, Jack, with dementia. His son, Mason, is trying to get him to write the book of his life while he can still remember it. To help he has just hired a carer to look after him and his much younger wife is there too. The action takes place in the large garage of Jack's house which has been filled with all sorts of memorabilia to try and stir Jack's memory.

Two things become apparent quickly; the extent of Jack's dementia and his love for and understanding of the art of taking a picture. The prism in the title was the innovation that allowed film to be made in good quality colour. While Jack can explain in detail how the prism worked inside the camera he could not differentiate a Vermeer from one of his own paintings.

I was a little uncomfortable at first as I do not find dementia anything to laugh at and other people were laughing at Jack's confusion (e.g. he could not find his local pub) and his constant repetition of questions. That quickly ended as we got more immersed in Jack's life, present and past.

The story was compelling and interlaced the present and the past brilliantly (rarely was an interval break better used). All of the characters were interesting, solid and presented skilfully. Robert Lindsay was fantastic as Jack but he did not steal the show as the other three were also excellent. The set did clever things that helped the story and the direction was crisp and imaginative. This was an exhibition in total theatre craft and I was extremely delighted to have witnessed it.

Prism was damn near perfect.

13 September 2017

BCSA "Get to Know You" Social (September 2017)


This Wednesday was a particularly blustery day and I was a little surprised to see so many people jostle with the weather and the resultant travel difficulties to get to West Hampstead for the BCSA  "Get to Know You" Social. We had to add an extra table to the group to accommodate every one and even then there were a few people standing, though I believe that was more out of preference than for a lack of chairs.

I had left work early to get to the social early but my travel difficulties meant an unexpected detour via Waterloo and the Jubilee Line rather than taking the direct London Overground. Plan B worked well and while I was not as early as I had hoped I was still early. Other people were too.

The evening went much as usual and much as expected with many interesting conversations, a few beers to drink and some smazeny syr to eat. Two of those are featured in the photo above.

There were several new people there and I made a point to talk to them. The opening gambits in these conversations was me asking them where they came from with Czechoslovakia (as it was) and them asking me if I spoke any Czech or Slovak (I do not). Pleasantries exchanged, the conversations then took on their own lives as good conversations do.

11 September 2017

Pleasingly disturbed by Doubt, A Parable at Southwark Playhouse

I often include part of a play's promotional blurb when explaining why I have gone to see it, this time I give the full text:
John Patrick Shanley’s masterpiece is one of the most acclaimed plays in recent memory. Winning 4 Tony Awards including Best Play, named Best Play by the New York Drama Critics’ Circle, Best New Play (Drama Desk Awards) and Outstanding Play (Lucille Lortel Awards). Doubt, A Parable won the Pulitzer Prize for Drama.
I was not going to miss that if I could avoid it. Luckily Southward Playhouse has performances on Mondays when many theatres do not so I went on a Monday. I went for a seat in the front row, as usual, and seat A20 in The Large was a more and reasonable £20. Incidentally, you have to admire a theatre that calls its two spaces The Little and The Large.

Despite having booked it only a few days before, I had no idea what the play was going to be about. I turned out to be on the somewhat challenging subject of abuse of children within the Catholic Church.

The priest under suspicion certainly had reasons for being under suspicion but was the sister being overzealous in her accusations? There was reasonable doubt both ways and that is what the play was all about.

Caught up in the dispute were a young teacher and the possible victim's mother.

These were four strong roles played strongly from the very start. The power of the play came from these four characters with their deep motivations and beliefs as they clashed and collided with each other. There was a lot of shouting.

As the play progressed we learned more about the possible abuse but never enough to erase the doubt. We were asked to choose which of the two, the priest or the sister, we believed and which should be punished. The system favoured the priest but that did not making him guilty.

It was a powerful production and it was easy to see why it won so many awards. If I have to be petty, the movement was a little unnatural as the players tried to satisfy all of the audience which sat on all sides. That was a small price to pay for being allowed to be so close to the action.

Stella Gonet as Sister Aloysius was at the centre of the play and was simply magnificent.

Doubt, A Parable was disturbing drama and that is why I loved it.

8 September 2017

The March on Russia at Orange Tree Theatre was listless and pointless

While my interest in Orange Tree Theatre has cooled in recent years, as I have discovered more theatres that I find more stimulating, I still go there regularly and am prepared to give it any benefit of the doubt when considering whether to see a play there. This is a step down from seeing everything there automatically but it means that I still go there a lot.

The March on Russia seemed like my sort of thing so I reached for my credit card to pay an almost insignificant £15 for set A1, possibly my first time there.

The play was an almost voyeuristic look at a family. A couple were celebrating their sixtieth wedding anniversary and were joined for this by their three children, oddly with no partners or grandchildren.

As they talked about the past, when they the children were small and before that, skeletons stumbled out of the closet in droves.

Somehow, despite that, the play never got anywhere. Many of the stories told by the couple must have been heard many times before and so caused no reaction. And when reaction did come it was unnaturally muted. There were arguments between people who seemingly had never had an argument before and had no idea that they were meant to shout and throw things.

Dark hints were dropped but not picked up. One of the children looked as though they were carrying the bleakest secret all evening but it remained a secret. Throwaway comments were made about extreme behaviours that were not followed up. It was all deeply unsatisfying. There were so many directions the play could have taken but it took none of them, choosing instead to end as if nothing had happened.

The following evening I was in my local pub and one of the regulars there got involved in an inter-generational family dispute and was far more passionate and enthralling than this one.

The set did nothing to help either. I am happy to imagine that there are walls between rooms that I cannot see but a little imagination would have made a lot of difference.

It was almost boring at times and I saw a few closed eyes in the audience. Keeping it alive were the performances from Ian Gelder in particular and also Sue Wallace as the elderly couple. That was a small reward for an evening in the theatre.

2 September 2017

A fantastic evening with Nursery Cryme at The Oak


I do not often write about bands that I see in pubs because that would be a lot of writing and usually there is nothing new to say; one rock covers band is pretty much like another. The sheer brilliance of Nursery Cryme last night has forced me to change my habit.

I had seen the band a few times before so knew what to expect, as did the other people who filled out The Oak and who sang along to far more of the songs than I did. If anything the set was less commercial than previously in that they did not play some of the more obvious early Genesis songs, like I Know What I Like (In Your Wardrobe). What they did play was a lot of longer more complex songs, like In the Cage. This was symphonic rock at its very best and I absolutely loved it.

Loot at Park Theatre was farcical and intelligent


While I have been an admirer of Park Theatre for some time and was aware of Joe Orton what really got me to see Loot was a chance encounter with Julie at a Sparks concert and Julie comes from Leicester, as did Orton. A convenient date was agreed and I bought the tickets, A18-20 in the middle of the front row, for a reasonable £26.5.

Apart from the promise of a 'dark comedy" I had little idea of what to expect. I had heard a couple of Orton short pieces on the radio recently and while they had some light touches I would be stretching a point if I said that I found them funny.

Loot was funny. Very funny. Laugh out loud funny.

Without giving too much away I can admit that it featured a dead woman, a nurse whose seven husbands all died quickly, a bank robbery and a policeman determined to solve several crimes all related to the few people in the room. Loot was a farce and a bloody good one too.

Trying to hide dead bodies is good farcical fare but there was more to Loot than just being a farce. The dialogue delivered clever funny lines at such a quick rate that it was hard to digest them all. Without the farcical elements of the plot it would still have been a funny play. A favourite, almost picked at random from the many, was when the coffin was being taken from the room the nurse put a copy of the Ten Commandments on it saying of the deceased, "She was a big fan, of some of them".

Some deep themes were covered too. There was a lot of religion, especially Catholicism, some politics and plenty of ethics. It was not a light play despite the heaps of comedy.

I found Loot to be hilarious from unusual beginning to unexpected end.