Paul in London Feed

Theatre Readings: Open Stage Angelic Tales

noreply@blogger.com (Paul In London) — Fri, 02 Mar 2012 02:00:00 PST

As part of its Open Stage programme this year, the Theatre Royal Stratford East is holding a series of readings of new plays this week, curated by Rikki Beadle-Blair. I caught The Miriam Gospel by Ben Fensome on Tuesday which is a surreal roller coaster ride into this history of homosexuality.

Thanks to the internet, you don't need to read a review but can watch the performance below. If you're pressed for time, I would recommend skipping to the monologue by a leopard slug, which comes in at 1 hour 50 seconds. It describes in graphic slimy detail slug sex and is disgusting and not for the squeamish. And I loved it.

Video streaming by Ustream

This is a series to watch for potential future playwrights and performers. Readings run until Saturday for now but more are to come later this year... It is worth a look and make sure you stay for the post show discussions as they are wonderfully entertaining and insightful about how the actors and writers grappled with the material and got it into shape...

They were encouraging audience feedback and tweets, but @johnnyfoxlondon and I prefer to boo... #openstage boo: angelic tales - the Miriam Gospel (mp3)

Theatre: The Ladykillers

noreply@blogger.com (Paul In London) — Thu, 01 Mar 2012 05:00:00 PST

The Ladykillers, which is playing at the Gielgud Theatre is a surprise treat. Even if you are not familiar with the Ealing comedy with Alec Guinness, the tale of a sweet old lady who is up against a gang of crooks who are using her room to hide out following a heist near Kings Cross is a lot of fun and everything a civilised night out at the West End should be... Murder, heists, little old ladies, car chases and moulting parrots...

How some of the material translates to the stage is often a joy to behold. Actually it is all so enjoyable that you wonder if they took the pace a bit quicker, choreographed the action a bit snappier and occasionally broke the fourth wall it might even be funnier.

Still, everyone is so likable and the performances are wonderful. Particularly by Marcia Warren as Mrs Wilberforce, who creates a wonderful character that is equal parts daft and clever. And of course the production looks great. People have raved about the set and it is a sight to behold, and it gets its own applause on a number of occasions. You get your money's worth here, and the Gielgud's latest refurbishment gives the theatre an added touch of old fashioned glamour and the bar prices are reasonable too!

Theatre: All New People

noreply@blogger.com (Paul In London) — Tue, 28 Feb 2012 04:30:00 PST

All New People, written and starring Zach Braff is a play that takes place over 90 or so minutes in the dead of winter at a beach house on Long Beach Island New Jersey. Zach's character Charlie is staying at his friends beach house for a few days as he is having a bit of crisis at this point in his life. He is about to end it all, when a real estate agent walks in... Then follows a fireman, and then a high-class hooker his best friend arranged to cheer him up with.

The stage is set for a bizarre and off-beat set of stories and revelations from this collection of four unlikely people. There is a detailed discussion about scabies and debates about the merits of various intoxicating substances. Projections help with the back stories of the characters, but it works best when it is just some off-beat random discussions about matters of trivial importance. Or are they? Whatever the case, the action moves briskly and the laughs are fairly constant.

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Theatre: The Shallow End

noreply@blogger.com (Paul In London) — Sun, 26 Feb 2012 01:00:00 PST

The Shallow End currently playing at the Southwark Playhouse is an opportunity to revisit this satire on British media with recent events of phone hacking, arrests, resignations and enquiries in mind.

The play is set at the wedding of a media mogul's daughter, who has just brought a broadsheet newspaper and it about to take it downmarket. During the celebrations the axe is about to be weilded on the old guard as debates about about the future of a newspaper in the digital age.

Theatre: Excellent Choice

noreply@blogger.com (Paul In London) — Sat, 25 Feb 2012 10:15:00 PST

Excellent Choice - a two-man show by Rob Hayes - is a brief and (ahem) palatable choice to start the evening. Part of the final week of the Vault Festival at the Old Vic Tunnels at Waterloo Station, it is a funny and dark half hour show that goes down very well. The theatre space being slightly damp and a former office within the National Rail archive only adds to its mildly creepy premise.

This short play is about a young man who visits a rather unusual rare wine shop and has some very specific requirements. What seems to be an ordinary transaction quickly becomes something different. The punchline is hilarious (although possibly offensive). To speak more about it would be to give too much away.

What holds it all together is two brilliant performances by Benjamin Dilloway as the customer (above left) and Jeff Rawle as the shopkeeper (above right). Apart from giving the production a bit of class, they play their roles in all seriousness and ignore the fact the other half of the room is full of the audience snickering...

An early evening or matinee treat for a fiver. See it this weekend before it finishes... Bemuse reactions with Adrian, who is from Melbourne and so not aware of the Leake Street phenomenon...

Vault Boo: excellent choice (mp3)

Theatre: Master Class

noreply@blogger.com (Paul In London) — Mon, 20 Feb 2012 08:15:00 PST

A passion for life (and music) is certainly a message loud and clear from this revival of Master Class, Terrence McNally's play about the original opera super star Maria Callas who is running a master class for aspiring opera singers. Inspired by the classes she ran at the Juilliard School in New York in the early 1970s, she alternates between being repulsed and intrigued by her students and then caught up in how their performances evoke memories of her past glories.

The play is an opportunity to see Tyne Daly on stage and she delivers a commanding performance as the no-nonsense diva. Dominating, witty with impeccable timing and occasionally vulnerable, her performance is something to be savoured. And it distracts you from being too bothered by some of the other quirks of the material such as occasional overlong scene and superflous characters.

Naturally anything about Callas is going to bring out her groupies en masse (including a variety of homosexual types), but you don't need to be gay or know much about opera to enjoy a story about making an entrance, getting a look and doing things with purpose. The play at its best is an education and an experience. Of course it could all end in tears and you lose your voice prematurely and die of a heart attack at 53, but never mind that. Don't miss it..

Concert: New York Philharmonic at the Barbican with Joyce DiDonato

noreply@blogger.com (Paul In London) — Mon, 20 Feb 2012 01:15:00 PST

It is easy to appreciate the music of Berlioz, Ravel, Stravinsky and English Born composer Thomas Adès when it is the New York Philharmonic performing. Part of their residency series at the Barbican, Friday night was an opportunity to be wowed by some impressive musicianship and a passion for music.

You know you're in for something a little bit different when you notice that after taking your seats you're surrounded by various members of the brass section. This was for Adès piece Polaris which had its European Premiere and was a joint commission with the Barbican and New York Philharmonic. It was an intriguing and hypnotic piece, although depending on your proximity to the off stage brass may have swayed your views on it (as no doubt you would not have heard much else). The above video shot for its premiere in New York gives some context to it

The rest of the programme featured Joyce DiDonato in Berlioz’s song cycle Les nuits d’été which gave a delicate and light touch to the proceedings. The concert concluded Stravinsky’s brassy Symphony in Three Movements and Ravel’s mildly erotic (but definitely evocative) Daphnis and Chloe Suite No 2.

Naturally the audience wasn't going to let things rest there and two encores ensued. A great varied programme and a night to remember.

(Silent) Opera: La Boheme

noreply@blogger.com (Paul In London) — Mon, 13 Feb 2012 06:30:00 PST

As part of the Vault Festival, which transforms a series of interconnected tunnels underneath Waterloo Station into something theatrical and fabulous this month, I caught a packed production of La Boheme by Silent Opera with @Johnnyfoxlondon.

Like other companies, Silent Opera is about taking operatic masterpieces and adapting them into modern settings. What makes them unique is that they tap into the iPod generation and use headphones to place the performers and the music in real life and odd spaces. The former National Rail plans and drawings archive must fit the latter. With a mix of levels, false ceilings, grimy floors and porta-loos, it is a far cry from the Royal Opera.
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Events: Snow Patrol at the O2

noreply@blogger.com (Paul In London) — Mon, 13 Feb 2012 01:30:00 PST

One of the great things about London is the range of sensible and not so sensible events on offer at any time of the year. All you need is a decent London Guide to start planning things. A frosty Saturday evening seemed very appropriate to catch Snow Patrol's second of three sellout concerts at the O2.

Snow Patrol are best categorised as an alternative rock group from Northern Island via Scotland (where they originally formed), but they have evolved to be firmly in the mainstream fare and ensuring mega stardom. That isn't such a bad thing as an audience of 15,000 singing (surprisingly in tune) the chorus of their song Run is certainly an experience to take in. It is also amazing to see the glow from hundreds of camera phones across the venue recording footage like the clip above. Given you can't smoke indoors anymore, they are the modern equivalent of the lighter wave.

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Opera: La Traviata goes East Londonistan...

noreply@blogger.com (Paul In London) — Sun, 12 Feb 2012 15:45:00 PST

La Traviata which is playing Upstairs at the Gatehouse is a surprising treat. One of the most loved and most performed operas with its beautiful music and fully developed characters, in the Gatehouse's intimate space becomes an intensely emotional affair that has the audience alternating between sobbing and cheering.

This is the same company that presented the economic production of Troy Boy last year. Again by Kit Hesketh-Harvey, this new translation and adaptation moves the action into the heart of cosmopolitan East London. Well the part where there are dodgy burlesque clubs and marriages that still need to preserve reputations.

Moving and updating the actions opens up a whole range of possibilities. Sempre Libera now includes a lap dance on one lucky audience member. Since Anna Jeruc-Kopec who plays Violetta has a great set of legs to match her set of lungs, it came as no surprise when she started to get a good mauling by the audience... They can be funny like that in Highgate.

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Theatre: Absent Friends

noreply@blogger.com (Paul In London) — Fri, 10 Feb 2012 03:30:00 PST

Wednesday evening was an opportunity to catch the latest revival of Alan Ayckbourn's frightfully witty comedy, Absent Friends, which is playing at the Harold Pinter Theatre. There is something about this play that has enduring appeal, even now as a period piece. It takes a particularly English setting of an afternoon tea party and slowly twists it. It is funny and occasionally surprising which makes for a great night out.

The story focused around a tea party organised for Colin (played by Reece Shearsmith), who returns to visit his circle of friends after the death of his fiancee. For a variety of reasons, his friends are more anxious about how to deal with the situation than he is and so the play explores the very English way people deal with grief and loss, infidelities and lost dreams.

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Overheard at the gym Tuesday

noreply@blogger.com (Paul In London) — Wed, 08 Feb 2012 06:00:00 PST

Man #1: She now has a dog
Man #2: What sort?
Man #1: It's a poodle. A little one. And I don't want it pissing all over my flat.
Man #2: They do that you know. They piss everywhere. And shit...

Theatre: The Pitchfork Disney

noreply@blogger.com (Paul In London) — Fri, 27 Jan 2012 06:30:00 PST

Wednesday night I was fortunate enough to see the first preview of The Pitchfork Disney at the Arcola Theatre in Dalston.

It is a mildly unnerving post-apocalyptic tale of dreams, nightmares, chocolate and things that bug you... Nothing is quite what it seems in this play. And through a series of monologues, there are laughs and shocks. It is hard to talk too much about the play without giving it away. But it is a showcase for some very talented actors.

Chris New - who was in the well-received movie Weekend - gives an intense performance as Presley. He is great to watch along with co-star Nathan Stewart-Jarrett (pictured) as Cosmo Disney. Both manage to make their crazy roles believable and interesting in as much as that is possible. Rounding out the cast is Mariah Gale and Steve Guadino...

Philip Ridley's play celebrates its 21st anniversary this year. While it may not be as shocking to audiences now as it was then. It does have a certain unnerving quality that remains, and this production does show the work at its best. The creepy theatre space of the Arcola - where there is a fine line between the ghosts of past industry that inhabited the building and organic beers - also adds to the tension.

It runs through to March. The musings of @johnnyfoxlondon and I follow (with apologies to Webcowgirl as she was stuck in the line for the ladies while we were boo-ing - or she was hiding somewhere after being disturbed by the show - I was not sure)...
Boo about pitchforks: Pitchfork Disney (mp3)

Theatre: First Light and Mr Darwin's Tree

noreply@blogger.com (Paul In London) — Fri, 20 Jan 2012 06:30:00 PST

First Light - Trailer from Fionn Watts on Vimeo.

The King's Head Theatre in Islington is playing a season of plays by Murray Watts this month. I finally caught the double bill - First Light and Mr Darwin's Tree - on Thursday evening. It all makes for an evening of unexpected surprises. Laughs, shocks and a few revelations abound over the course of two very different pieces of theatre.

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Panto: Dick Whittington

noreply@blogger.com (Paul In London) — Fri, 13 Jan 2012 04:30:00 PST

It's the tail-end of panto season. School is back, Christmas and New Year have come and gone and the holidays are over. But fortunately the New Wimbledon Theatre's Dick Whittington is a welcome hanger on from the period. Its funny, sharp and varied enough to keep people of all ages entertained. There's even a 3D film segment in the second half to scare the children. But top billing for this show is Dame Edna as the Spirit of London fairy helps Dick (and the show) along. The show gives and opportunity for Dame Edna to fly through the audience, riff on old routines and muse about the genre of the pantomime. It is hilarious stuff. The jokes about empty seats being the result of subscribers to the theatre from the posh parts of Wimbledon, who have since died, are comedy gold...

Of course when Dame Edna isn't around there is the good looking Sam Attwater as the hero and Anna Williamson as Alice along with a host of supporting characters that work so hard it is exhausting to watch. Even if you are not so sure whether pantomime is your cup of tea (it is a curious mix of children's comedy and adult filth), it is a hell of a night out... It finishes Sunday...

The Wimbleboo with johnnyfoxlondon on the train home (with apologies for the station announcements):
Wimbleboo: Dick Whittington (mp3)

Scenes of London: Sunday in the Park

noreply@blogger.com (Paul In London) — Tue, 10 Jan 2012 04:30:00 PST

January in London doesn't have to be grey and miserable.

It can be crisp, sunny and green with a dog mid-distance wandering around for no real reason...

Theatre: Cirque Du Soleil - Totem

noreply@blogger.com (Paul In London) — Mon, 09 Jan 2012 03:00:00 PST

Cirque Du Soleil's journey of the origin of the species - Totem - returns to the Royal Albert Hall for a limited run. Directed by Robert Lepage, it is a thrilling and beautiful show. People fly through the air, juggle, unicycle, play tricks and clown around. It is all spectacular stuff.

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Grim New Year: Sweeney Todd Preview

noreply@blogger.com (Paul In London) — Thu, 05 Jan 2012 09:00:00 PST

2012 looks set to be delightfully grim if this teaser trailer for the Sweeney Todd musical is any measure... It opens at the Adelphi in March 2012...

But it won't be all blood and murder... I'm off to see Cirque du Soleil's Totem tonight... More later...

Theatre: The Importance of Being Earnest The Musical

noreply@blogger.com (Paul In London) — Mon, 19 Dec 2011 10:30:00 PST

The Importance of Being Earnest, The Musical currently playing at the Riverside Studios Hammersmith, turns out to be a nice little Christmas surprise. The show with a book by Douglas Livingstone and score by Adam McGuinness and Zia Moranne takes Oscar Wilde's play and turns it into a brisk and witty affair that captures the essence of the comedy while feeling like a distinct show in its own right.

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Music and Advertising: Millbank Tower

noreply@blogger.com (Paul In London) — Thu, 01 Dec 2011 06:30:00 PST

In case you missed it, Millbank Tower earlier this week served as a showcase for a light show and performance by Deadmau5 to mark the launch of the new Nokia Lumia smartphone. Maybe this landmark building is getting a new groove (albeit through a phone and operating system that is a bit boxy)...

Theatre: Crazy For You (and those legs)

noreply@blogger.com (Paul In London) — Wed, 30 Nov 2011 06:00:00 PST

After a successful run at Regents Park Open Air Theatre this summer, Crazy For You is now at the Novello Theatre. I saw it at Regents Park and was not so crazy about it then. Now in a theatre and away from evening chills, planes flying overhead and the occasional moth, it is a chance to ignore those distractions and focus on the vibrant singing and dancing, and spectacular costumes. There is so much energy on stage conveyed through a series of spectacular dances. Legs kick, flip and dance their way through nearly three hours of entertainment. You will be exhausted just watching it.

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Theatre: A Round-Heeled Woman

noreply@blogger.com (Paul In London) — Sat, 26 Nov 2011 11:56:00 PST

A Round-Heeled Woman has just transferred from the Riverside Studios to the Aldwych Theatre. It is an opportunity for Sharon Gless (of Cagney and Lacey fame) to portray through part monologue / part drama the true story of Jane Juska. Juska is a woman who placed an advertisement in the The New York Review of Books that read: "Before I turn 67 – next March – I would like to have a lot of sex with a man I like. If you want to talk first, Trollope works for me."

The play, which is based upon Juska's book, goes through some of the encounters that lead to love, heartbreak, rejection and laughs. The audience on Friday night was not prepared for the humiliation arising from this situation. There were audible gasps when one of her male suitors tells her why she needs to get some lubricant.

But the sharp wit and brutal incisiveness is frequently undermined by a superfluous supporting cast that have little to do, and a set so distracting that it has your mind wondering to ask questions such as, "Why does Juska have a tomb in her front garden?" Maybe it is meant to be a metaphor. But perhaps cutting back on both would enable more time to focus on the central character.

Still, Gless gives a pretty good performance and it is an enjoyable night. But perhaps the target audience is for those whose last outing was to see Menopause The Musical, although there were plenty of fans from Gless's Cagney and Lacey and Queer As Folk days in the audience... It runs until January. Incidentally Tyne Daly is appearing January in Masterclass... Maybe the two productions should have a mash-up?

Theatre: Revenge of The Grand Guignol

noreply@blogger.com (Paul In London) — Fri, 25 Nov 2011 06:00:00 PST

It was a bloody night at the Courtyard Theatre Hoxton where I finally managed to catch Theatre of the Damned's Revenge of the Grand Guignol. Well it is not all blood and gore, but these four stories all have enough thrills, laughs and shocks to have you and the ice within your favourite beverage all aquiver... So much so that when the lady in front of @johnnyfoxlondon and I blew her nose, we both jumped.

Last year's show in Camden was great, but this year was even better with stories that are even more compelling and some great performances. There is a melodramatic story about a mad doctor, a pensioner with a buried secret, a long distance relationship gone wrong and a beautiful woman trapped in a munitions factory. All of the stories have in common the ability to turn something ordinary into the unusual. And through some rather clever lighting and sound effects, even when things seem fine, you were on the edge of your seat.

The show is part of the London Horror Festival (which has been running over the past month). It is great to see there is a dedicated festival for giving audiences intended shocks. Here is hoping there is more next year. It runs through to Sunday...

An audioboo with @johnnyfoxlondon follows

listen to ‘Evening horror at The Revenge of Grand Guignol ’ on Audioboo

Games: The Show Must Go On

noreply@blogger.com (Paul In London) — Fri, 11 Nov 2011 07:00:00 PST

Thursday evening I found myself at the launch event for The Show Must Go On, which is a rather nifty little game that brings together opera, cheap laughs and the iOS platform. Given all three are favourites of mine I downloaded it.

It is very cute and quite amusing little game, recreating Covent Garden and backstage at the Royal Opera when everything goes wrong. The game puts you in the shoes of a stage manager and includes a series of mini games. Within these you have to undertake a variety of back stage tasks in order for the show to go on. I particularly liked running over the rooftops of Covent Garden chasing sheet music and dodging pigeons. Depending on how well you do, depends on how good the show is. So far I have only created rubbish shows... The game might be trying to tell me something but I will ignore that for now and keep practicing...

An interesting collaboration between the Royal Opera, including its sound technicians singers from the Jette Parker Young Artist programme and musicians of the Orchestra, EMI and Hide and Seek. Very funky cool stuff... Go play...

Theatre: Three Days in May

noreply@blogger.com (Paul In London) — Mon, 07 Nov 2011 08:30:00 PST

Three Days In May, is about the period shortly after Churchill becomes Prime Minister in 1940 and when Britain contemplated whether throwing in the towel and negotiating peace with a stronger, more powerful Germany was an option. It is currently playing to healthy audiences at the Trafalgar Studios. An early surrender seems today to be an unthinkable prospect. But at the time France was powerless to stop the German invasion and worried that without surrendering they would be annhilated. The British were outnumbered and feared suffering a humiliating defeat at Dunkirk. The play therefore unfolds with this context and debate.

There is nothing like a bit of Churchill to get people standing to attention nowadays and reflect upon glories past. Or at least perceived glories past. As the play notes, Churchill commented that he expected history to be kind to him as he intended to write it. So it is a shame that the play doesn't attempt to throw more grey on a dark period in the country's history. Instead we have what is essentially a radio play and half a history lesson gleamed from wikipedia without too much characterisation.

The production relies on the audience having lived through the war to know its context. And judging by the average age of the audience on Saturday night they might have got it right. But it might have been more helpful to inject a bit more context via newsreels and footage of the day rather than bland projections and a map as a backdrop. It might have given the story a greater sense of urgency and drama. Also, while Churchill's secretary may have provided for the source material, he does not make a compelling character. And as a narrator he kills the drama.

Still, what makes the play a stand out is the performances. The actors manage to polish the material and give it a subtlety and at times sophistication that makes it worthy of a night out. Warren Clarke as Winston Churchill delivers an engaging performance. While he may not be channeling the man with his cane, bowler hat and cigar, you get a sense of a man with an understanding of history weighed down by his own experiences and age. Robert Demeger manages to give a more sympathetic portrait of Neville Chamberlain than most history books will record. At this point in history Chamberlain was still largely respected and not been written off as an appeaser and Churchill was not respected amongst his peers. It is how Churchill plays upon Chamberlain's regret for negotiating with Hitler in Munich in 1938 that gives the play its most dramatic fire.

The play is proving too tempting for journalists to draw parallels to the current loss of British military power. Perhaps a more relevant parallel (and less rabid) is one that highlights how intertwined the island is to the continent... Whether it likes it or not... Catch it and contemplate... Good seats available (for now) at the usual discount venues.