14 July 2017

Hir at Bush Theatre was phenomenal

I wanted to see Hir because it sounded quirky in an interesting way, it was at Bush Theatre which is one of my regulars and it had Arthur Darvill, recently of Dr. Who in it. All good reasons and so I paid my £20 for seat A10.

As usual with Bush Theatre I was not quite sure what to expect on the day. I had hoped for a veggie wrap or sandwich but their limited range was devoid of veggie options when I got there so I had to find a cafe instead. Dough & So Bakery did the job very nicely.

I returned to Bush in good time to get a pint of Camden Pale Ale to take in with me.

For Hir the seating was arranged in a more familiar pattern than it had been on my last visit with the stage in the middle and the seating on either side. The slight difference this time was that there was an additional row of seating, row AA, next to the stage and sunk quite low. I was right to have avoided this, despite its proximity, and gone for row A instead.

That stage was a mess. It was an open plan room with the kitchen at one end and a sofa at the other but the main feature was the mess, particularly the clothes strewn about the floor. In the room was a middle aged woman and a similarly aged man, She was happily doing things while he was slumped in a chair. He was also wearing a women's night gown and a rainbow wig. In to this scene arrived their son Isaac (Arthur Darvill) returning from serving in the Marines in a war zone for the last three years.

We met the fourth member of the family, Max, a little later. Max used to be called Maxine.

The title of the play suggests that it was about Max/Maxine but that was just one of the strong themes and the harsh spotlight featured all four family members at various times. A phenomenal amount went on and a lot of it was verging on grotesque, though there were several lighter moments too and I loved the line, "What is the kitchen table doing in the kitchen?".

The impact of the play can be explained by a young woman in the front row almost directly opposite me. She loved the play too (I asked her afterwards) and sat through it with an almost constant look of horror on her face and she brought her hands up to her face several times. We were watching people say and do almost unbelievable things to each other. Making your husband wear a dress was only the start of it.

Hir walked many fine lines brilliantly. It was never voyeuristic in a Jeremy Kyle sort of way or exaggerated in a absurdist sort of way. This was a family on the edge, or several edges, but these were real edges lived on by real people.

And those real people were portrayed magnificently by Ashley McGuire as the mother at heart of the family, Andy Williams as the father deposed from his previous authoritarian role, Griffyn Gilligan as the young man confident in his new role,  and Arthur Darvill as the prodigal son trying to make sense of it all. They all got a lot of applause and cheers at the end and it was all thoroughly deserved.

I like modern edgy theatre and have seen many plays that could be roughly compared to Hir but Hir stood out among them all. It was phenomenal.

12 July 2017

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

The monthly British Czech and Slovak Association (BCSA) "Get to Know You" socials continue to come around with remarkable speed. They are scheduled for the second Wednesday of each month but it never seems like a month has passed before I am back at the Czech and Slovak Bar and Restaurant in West Hampstead for more beer, more food and more conversations.

Now that I work out of the same office (in Teddington) all of the time that travel has become an easy ritual too. I leave the office around 5:40, well before most people, and walk to Strawberry Hill Station. Teddington Station is a lot closer but I like the walk and I am under no time pressure. I catch a train to Richmond just before 6pm and from there take the Overground to West Hampstead. I get to the club a few minutes before the start time of 7pm.

Richard is normally already there and has rearranged the tables and put the sign on the door. His final preparatory act is to buy me a Pilsner Urquell.


After that people drift in and the conversations start. Somewhere around 8pm we realise that we are hungry and order food. I always have smazeny syr and try to compose a different photo of it.

In July we talked about Brexit again but this time with some hope (for some of us) that it might not actually happen, the perils of budget airlines, the delights of Munich, the progress of Czech and Slovak players at Wimbledon, and the history of women jockeys.

Somebody also sang the Jeremy Corbyn song at some point. It was probably me.

11 July 2017

Lonely Planet at Tabard Theatre was a celebration of humanity


Tabard Theatre is one of the theatres that I need more of a reason not to go than to go due to both its very convenient location (next to a tube station and above a pub) and so I booked to see Lonely Planet. The synopsis sounded a little unusual, I like unusual, and the writer came with some recommendation from his work in America.

And so I duly paid my £20. The booking experience was a little surprising in that Tabard had introduced allocated seating since my previous visit. I chose A7.

The pub came first and that had changed a little too. I was expecting to have my usual veggie fish and chips but the menu had been changed. There was a still a halloumi dish and I went for that. The corn bread made it very filling and a bit chewy so I'll probably go for something else next time. There will be a next time because its still a good pub with a good range of beers.

Lonely Planet was set in a small and untidy map shop. Proprietor Jody (Alexander McMorran) lived there and was regularly visited by Carl (Aaron Vodovoz) who had several jobs most, if not all, of which were fantasies.

Carl kept bringing Jody chairs which were piling up in the storeroom at the back where Jody slept.

Jody and Carl talked about things a lot of which was small talk between friends, some of which was Jody explaining to Carl how map projections work and a some of which was about AIDS and the impact it was having on their group of friends many of whom had died. They talked in the way that normal people talk and the mood and the pace of the play changed with the subject matter. It was as light hearted as it was sad.

Carl kept bringing chairs and spoke about his chair at home with fondness.

The ending was bit of a tear jerker. It was unexpected but, with hindsight, should not have been. But it was not the sadness of the moment that stood out, it was the reality of it. This was a play about two close friends living awkward lives in difficult times. It was a celebration of humanity and that made it an engaging and rewarding play.

7 July 2017

Mumburger at Old Red Lion Theatre entertained in an intelligent way

I discovered Old Red Lion in Islington via a Philip Ridley play and had kept an eye on its programme since then. I managed to get back there only once subsequently but that was more because of the my inability to see everything that I want to due to a lack of time (and if I stopped working to make time then the lack f money).

Mumburger appealed because it sounded weird but weird alone is not enough. It took me a while but what clinched it was the realisation that Rosie Wyatt was in it. I had seen her act several times before and was keen to keep up the tradition. To be fair to Red Lion Theatre their publicity material did say she was in it but to be fair to me they wrote everything in capital letters which made it hard to read.

Having discovered my error in time I forked out a miserly £16.50 for a ticket on a Friday night.

It is always interesting to go to theatres like Old Red Lion (White Bear and Union are similar in this regard) in that you do not know how the stage will be arranged until you climb up the steep stairs and enter the room.

This time the stage was arranged as an right-angles triangle with the base about half the length of the height. The seating was along the base and vertical and the back of the stage was a grey curtain draped along the hypotenuse. The stage was sparsely set as living room with a boxed seat (useful for storing props) and a coffee table.

The play started with film projected on the grey curtain. This was a fast collage of events including a TED Talk and a serious car crash. The Mum of the play died in that crash. It was a bold and effective start to the story.

Trying to come to terms with the Mum's sudden unexpected death were her husband and daughter (Rosie). The daughter was more in control of the situation initially and had created a shared Google document for them to track activities like notifying people and finding a funeral director. The father/husband was lost in grief.

The relationship between the two was the focus and purpose of the play. That relationship had its expected ups and downs as they both went through the violent stages of grief, shared their memories of Mum (which did not always coincide) and tried to come to terms with her final wish, an emotional act of sharing.

Mumburger went all over the place, in a good way, with moments of humour, anger, sadness, absurdity and tenderness.It was something like a fast version of, er, The Fast Show, with the same two characters. A few of the scenes did not work for me and at times it felt like the script needed a bit of an edit but in saying that it feels now like I am looking to criticise it when serious criticism is unjustified. The play worked well and being a little rough and ready at times did nothing to hamper my enjoyment of it.

I went to see Rosie and she was good, as expected. Andrew Frame was just as good as her father and the two of them gelled well. I could believe that they were father and daughter and that mattered. I liked the simple staging too.

Mumburger entertained in an intelligent way and any theatre that does that is fine with me.