Theatrical Interlude 25 (2012)

Richard III, Apollo Theatre, London. December 2012.

I'm a bit late in getting this review up, I can't blame the pressures of the festive season more a nasty virus that has wiped me out.

In retrospect it was probably a bit silly making the trip the London to see this, I'd been ill beforehand but the lure of seeing the production again and feeling fine on the day saw Mr Norfolkbookworm and I on our way to the Big Smoke.

I'd seen this play back in August and thought it brilliant then and I really think that it transferred wonderfully to the West End.  In many ways it was a better location - with no helicopters and sirens to be heard none of the dialogue was lost and the seats were also more comfortable than the Globe benches.  The lights weren't dimmed out and so some of the audience atmosphere from the open theatre remained.

Being in a smaller theatre (no Groundlings between the seats and the stage) the nuances of Mark Rylance's Richard III were very clear and his take on the character's madness were chilling.  His stage presences and expressions were funny but the words chilling, put together this made for a brilliant performance.

The rest of the cast were all fantastic, and as ever the Globe created a real ensemble piece, the one thing I found most interesting about this version was I *think* that the cast used the theatre and stage steps far more here than they did at the Globe.  We had end of row seats near a door and to be that close to the actors was very exciting.

I loved having the chance to see Richard III again, it is certainly in my top 10 of 2012 and seeing a Globe performance in the winter makes me all the more excited for the Sam Wanamaker Indoor Jacobean theatre next year!

Theatrical Interlude 14

Richard III, The Globe Theatre, August 2012

I was a little concerned going into this play - it was the third play in just over 24 hours after all. Could this, the second play in as many days, really be as good as Henry V?

I must learn not to doubt - it was truly wonderful, but a departure from the preceding plays I've seen in this location as it was played with an all male cast.

I'd seen a few cast photos from this play before we went and I did wonder if I'd be able to believe that the female characters were female.  It was a little be of a shock at first but as with any good play this quickly became irrelevant and it was the lines that were important.

In my mind I'd always seen Richard III as a dark sinister character who was an archetypal villain but in this version Mark Rylance expressed his ruthlessness and madness through humour. Admittedly dark and often inappropriate humour but it was an intriguing way to play the role.

I also wonder if this play came closest to showing off The Globe as it would have been in Shakespeare's time as Richard III, and other actors, are constantly turning to the audience and encouraging participation.  It could have turned into a Shakespearean pantomime but the quality of the acting prevented this and I just felt I'd travelled in time.

The one thing I noticed with this performance was how relatively static it was - the actors didn't leave the stage and use the groundling area at all. This play is transferring to a traditional theatre in the West End later in the year and I do wonder if this has altered the staging at all.

All in all another wonderful production at The Globe, and I think a great introduction to the venue for my dad who accompanied us on this visit. I can't wait to introduce my mum to the venue when we see Taming of the Shrew in a couple of weeks.

Theatrical Interlude 13

The Doctor's Dilemma, Lyttleton Theatre at the National Theatre, August 2012

After leaving the stirring production of Henry V at The Globe my theatre going friend and I strolled along the South Bank until we got to the National Theatre.  We did intend to only visit the shop but the lure of the theatre was too strong and on discovering that there were reduced price tickets to a play that evening we were too weak to resist.

The joy of this play was apart from the playwright, George Bernard Shaw, we know nothing at all about it.  It has been quite a time since I've gone so 'blind' in to a performance.

The play itself was very good and very thought provoking, a lot of valid ethical questions were raised and yet at the same time the play was very funny for much of the time. I wasn't quite sure about the ending but I suppose that was the point Shaw was making - doing the right thing, even for the wrong reason, doesn't always get you what you want.

The real star of this play for me was the staging, the sets were beautiful and moved so cleverly that I at least felt I was walking between locations rather than the scenery changing!  This year has been the year of incredible scenery at the theatre, and the use of light through windows especially often makes me forget I am in a dark theatre and not actually in the house/garret.

All in all a surprise evening of theatre that was very enjoyable and proof that if a play is good then it doesn't matter if you don't know the story (or the actors) in advance.

Theatrical Interlude 12 - reprise (2012)

Henry V, The Globe Theatre, August 2012

A day out at The Globe Theatre is always a treat and as I've discovered seeing a play twice here is no hardship either so I was very excited to be seeing Henry V again.

It was just as good the second time around, and in a way even better as currently there is such a swell of pride in being British that when Henry calls "Cry 'God for Harry, England and St George'" the whole theatre seemed to become one.

Seeing this a second time allowed me to see the wonderful way the battle scenes were choreographed and just how clever the staging is in that you can imagine a full battle when there are less than 20 actors involved.

The play finishes in a week and I am sad that I won't see it a third time - I will however have everything crossed that the Globe release this on DVD sooner rather than later so I can enjoy it again.

Theatrical Interlude 9 (2012)

Noises Off, Novello Theatre, June 2012

I am beginning to think that my theatre outings really are doomed - I promise I've never called the Scottish Play by its real name in a theatre!

This long arranged trip had the potential to become a logistical nightmare. A family bereavement meant I needed to be in Swindon at funeral on the morning of this trip, then the train was late and to cap it all the Circle Line suddenly stopped being a circle and was more of a horse-shoe missing out the area I needed to be.

I'd been so busy before this trip that I had absolutely no idea what Noises Off was about other than a play rehearsal. When I got to the theatre and saw it was by Michael Frayn my heart sank a little further - despite many good intentions (and enticing book blurbs) I've never yet managed to finish anything that the man has written.

On top of all this was the worry that after such a day, was a farce really what I needed?

The old adage that laughter is the best medicine could not have been truer.

From pretty much the second the curtain rose I was giggling, and by the time Act 1 had finished and Act 1 had started I was laughing out right. By Act 1 I really thought I would cry with laughter.  The play actually started before the curtain rose but that only became apparent as the story unfolded but I know that my companion and I were a little bemused by the pre-show announcements for a while.

The basic premise of the play is that Act 1 shows a play in the final dress rehearsal but that it isn't really ready to be performed. Act 1 then shows the same play but from behind the scenes, the final Act 1 is the same play but on the closing night when the cast have fallen out entirely and the show can barely go on.

Watching the same play three times in two and a bit hours shouldn't work but the energy of the script and the actors makes it a wonderful theatrical experience. The act that takes place behind the scenes is comedy genius and how the actors perform the stunts time after time without hurting themselves amazes me. I shall never look at cactus in quite the same way again!

I've never taken part in any theatrical show (apart from a school play when I was 14) but having read a few biographies and novels set in the world of theatre I think that although taken to the extreme there is more than a grain of truth in this play.

I am so glad that I did see it despite so many events conspiring against me, and I find it hard to see how anything I see at the theatre for a considerable time can be as funny.

Theatrical Interlude 8 (2012)

Henry V, Globe Theatre June 2012

This was the second play that Mr Norfolkbookworm and I saw during our weekend in London.  We'd packed fearing the worst - the forecast for Sunday was dire however it was a pleasant surprise to find it warm and  almost sunny as we strolled alongside the River Thames to get to the Globe.

There has recently been a season of Shakespeare plays from the Globe shown on Sky Arts and we did mean to watch the almost prequels to this one (Henry IV pts 1 and 2) but time got away from us and we didn't manage it.  Being Shakespeare this didn't matter.

Sunday was the first day of the 2012 "The Plays the Thing" season at the Globe - for the past few weeks it has been the "Globe to Globe" season where all 37 plays by Shakespeare have been performed but with each one in a different language. I didn't see any of them but I know that if I'd lived in London I would have done - the reviews have been excellent.

Henry V was the Globe Theatre's entry to G2G and so while we saw the first performance of the summer season it wasn't the first time is had been performed.

It was wonderful from the instant the musicians appeared on the stage to the dance at the end it was a masterpiece. I've seen the film version from 1944 with  Laurence Olivier and while that was good it felt very earnest, this version was human - there were emotions and so much humour, from the Bishops on their 'throne' to the scenes with Pistol yet none of it felt over blown or out of place.  As for the famous 'once more unto the breach dear friends' scene - I was ready to draw my sword and join in.

Having been to Agincourt a couple of years ago I could really see the scene of the battle - which is wonderful as the 'Chorus' does ask you to imagine the scene as it would be too hard to realise in the theatre - and thought that the way the fight is depicted using just a few of the cast was fantastic.

I am very glad that I am seeing the other 3 plays in the London season over the next few months and very pleased that I will see this play again.  It has quickly moved to the top of my (imaginary) list of Best Plays 2012.

 

Agincourt archers in Agincourt, France

Theatrical Interlude 7 (Reprise)

War Horse, New London Theatre, June 2012

Since seeing this last year, and since being a little disappointed in the recent film version, I've been trying to convince Mr Norfolkbookworm that he should see this play.

It didn't take a lot of work and so this past weekend we went down to the 'Big Smoke' in order to see some theatre together.

It was a lovely weekend and despite the dreadful forecast we had lovely weather and a great time.

It was nice to also see and evening performance of a play, I don't think that there is any particular difference in a matinee but if certainly felt more of a treat to be seeing a play in London at night!  It certainly didn't make any difference in the behaviour of the audience - how can so many people be so incapable of sitting through an act of a play?  I can understand the children needing to leave but the adults?

Anyhow none of the audience fidgets spoilt the play for me, and neither did it matter that this was a repeat viewing.  From start to finish I was captivated and immersed in the story. I think that this time it took even less time for me to see the horses on stage as real animals rather than puppets if I am honest!

War is a brutal thing and this play shows this, but it also brings out the best (and worst) in people and again that is shown fully.  An adaptation of a book written for children played on stage with puppets shouldn't be that emotional but all credit to everyone it really is. I was sniffling by the end that is for sure.

Last time I saw the play I was sitting in what they class as restricted view seats as you lose a little of the view at the edge of the stage, this time we were pretty much dead centre of the stalls, I discovered that we hadn't lost much of the action last time. I also discovered that these seats right at the front but at the side did in fact make the play a little more immediate - when the horses gallop across the stage it is impressive from the centre but at the side you do think the horse is going to run you down!

This was certainly a play that stood up to repeat viewing, but unlike one person that I overheard I don't think I'll be going to see it 11 times!

Theatrical Interlude 6 (2012)

The Duchess of Malfi, The Old Vic, May 2012

My theatre going friend and I ventured south of the river this time to the incredible Old Vic Theatre.

Before I even talk about the production I need a moment or two to rave about the venue - I found the Old Vic to be a wonderful example of how you can bring a traditional building up to date but at the same time lose nothing of the original character.  Unlike the Vaudeville Theatre from a few weeks ago this building is light and airy, comfortable and most important has plenty of ladies loos!  In addition to this while the auditorium still feels like a traditional Victorian theatre it isn't at all thread bare or dated, plus - and this was a bonus on an surprisingly sticky May day - it has wonderfully efficient air conditioning.  Much of this is I am sure due to the input from Kevin Spacey who was appointed artistic director in 2003.

Now the play...

This was another one that I knew nothing about before the performance except that it was written after Shakespeare but before the Civil War.  John Webster appears as a young boy in the film Shakespeare in Love but there my knowledge stopped!

I was sucked in from curtain up, the speech was easier to follow than that of Shakespeare but I still needed a few moments to fully get my ear in tune but then the plot and the acting carried me though and I felt I was living the drama not watching a play.

The basic plot is that the Duchess of Malfi has been left a rich widow and her unscrupulous (and increasingly unhinged) brothers don't want her to marry again as they will then not see any of this money.  The Duchess however has a mind of her own and does remarry for love, but shock horror he is from a much lower class than her.  Their happy life comes to an end when her brothers find out about the marriage and subsequent children.

I think we counted 9 murders, 2 fake corpses and a severed hand so this play is not for the faint hearted!

I saw the actress playing the Duchess last summer at The Globe and thought she stole the show there and the same can be said of her performance here, but again she was supported by a strong cast and they convinced me that they really were feeling every emotion.

The setting was quite dark, very much like the theatres of Webster's time I suppose. While modern lights were used on stage actors carried candles a great deal of the time and it was all very atmospheric, including one scene which took place in pitch blackness - even the emergency exit lights were covered for it.

Reviews online seem mixed for this play - critics liked it but bloggers haven't been so keen.  I'm on the side of the critics. I thought it was fabulous and I will be looking at the listings for The Old Vic a lot more often now as well as following Eve Best's career closely.

Theatrical Interlude 5 (2012)

What the Butler Saw, Vaudeville Theatre, May 2012.

This was a surprise addition to my theatre calendar for 2012: an unexpected trip to London for work, some lieu time and a May Madness Offer from Lastminute.com all worked in my favour and after a lot of deliberation I decided to see Orton's What the Butler Saw.


I found the play to be a very full on experience from the instant the curtain rose and it wasn't until the 2nd act that I felt I had got in my stride to go with the humour, I almost felt that a 'warm up act' was needed like you get at some stand up comedy shows just so that you are in the right mindset for when the action starts.

Like most of the plays I've seen so far this year this was truly a comedy (nay farce) and I enjoyed the performances of all six actors immensely, as to be expected Tim McInnerny is brilliant but I found Omid Djalili's style of delivery spot on for his role.

I knew nothing about the play before seeing it which was a delight for as the plot became more and more farcical I was swept up and eager to see how it was all going to resolve itself.

I can't say that this was the best play I've seen, and to be honest it would probably fall in the bottom half of a ranked list. I can't quite put my finger on why, I liked the actors, the acting and the scenery. I also laughed a lot - especially in the second half. I'll also never again be able to look at a statue of Winston Churchill without sniggering. There's even full frontal (good looking) male nudity. But...

Perhaps a comedy/farce like this needs to be a shared experience? I saw this alone and sat in an area of the theatre that was sparsely populated...

It was great for the £10 I paid for the ticket but not one I want to see again, or that I can put my hand on my heart and recommend. I am left wondering if I shouldn't have paid the same money and gone to see The King's Speech.

When I saw the play it was still in preview, and it isn't until May 16th that the press night is held and it is officially 'open'.

Theatrical Interlude 4 (2012)

Hay Fever, Noel Coward Theatre, May 2012.

This theatrical trip was nearly a disaster.  Once more there were huge rail problems on the day of the outing, however this time I'd always planned on going the slower, indirect route and consequently missed all of the trouble.  It was a good feeling to outwit the trains for once.

I'd not seen any Noel Coward plays before this one. I've seen some of the films he scripted and read a few of the plays but I wasn't sure what to expect, especially as reviews have been so mixed.

I loved it.  It was laugh out loud funny, the cast worked as a whole, the set and the costumes were fantastic.

When we arrived at the theatre we were expecting to be seated in limited view seats in the Upper Circle however as we tried to get in to the theatre we found we'd been upgraded to the fifth row of the Dress Circle in seats that were far more expensive than the ones we had paid for.  Sadly the reason for this was because there weren't enough people in the audience to fill the Dress Circle let alone that and the Upper... I hope it was just a quiet day because the play is very good and deserves to be seen.

There are a lot of famous people in the play - Lindsay Duncan, Jeremy Northam and Olivia Colman being the biggest names, but it wasn't about them at all - it was a true ensemble piece without a weak link. The acting is quite over the top, but only as the script demands and the physical comedy was just as funny as the script. I shall now be looking for more Coward plays to go and see.

The lasting impression of the play - I really want some silk pyjamas and a silk dressing gown to swan around the house in - the elegant cigarette holder is an optional extra.

Theatrical Interlude 2 (2012)

The Recruiting Officer, Donmar Warehouse, March 2012

From all accounts my theatre going friends and I were incredibly lucky to secure tickets for this production as it is quite hard to get tickets for this venue without being a 'friend of the theatre' for any performance - let alone when it is a sell out 5 star play.

We knew very little about this play in advance short of it being a comedy written in the very early 1700s.

Our tickets were very clear in saying that late-comers wouldn't be admitted so we arrived in plenty of time and found that as soon as the auditorium doors opened there was action on the stage - with musicians and dancers lighting hundreds of candles. The theatre itself was tiny but the seats were very comfortable and even being sat at the end of the row at the side of the stage we could see everything.

The play itself was a real surprise, it felt like a real bridge between Shakespearean theatre and modern plays - the interaction with the audience and the use of space beyond the stage was very much like a production at the Globe but the language was modern dialogue and natural rather than poetic and rhythmic.

The action all took place in a very short space of time and followed the intrigues of both star crossed lovers and the unscrupulous manner in which people were press ganged into the army. From the very start the play was incredibly funny (and that is before the stage became slippery and a dramatic skid led to some corpsing) and in a way the whole experience reminded me of an up market pantomime with lots of playing up to the audience although luckily no actual audience participation.
The humour continued right up to the last scene when all of a sudden it became wonderfully poignant - the lovers had all been reconciled, the pseudo-baddy (a wonderfully camp Mark Gatiss) had got his comeuppance and overcome this and the recruiting officer had his new soldiers. Then the new recruits all stood in a line playing the traditional song "Over the Hills and Far Away" and through their actions remind you that soldiers go to war...

All of the cast were brilliant, each person inhabited their role completely and the skill of the ensemble to act whilst playing musical instruments, singing, dancing and acting as stagehands was a real stand out.

This was a thoroughly fun play to see and yet again a play that I came out of wishing I could straight back in and see it again.

Theatrical Interlude 1 (2012)

Aida, Royal Albert Hall, March 2012

This was a new theatrical experience for me - an opera, in Italian and staged in the round.

I'm not a stranger to opera in some ways as my parents like the music a lot and CDs of various operas were often playing when I was at living at home but actually seeing one was new.

Mr Norfolkbookworm and I went to one of the Christmas music extravaganzas at the Royal Albert Hall just before Christmas 2011 and picked up a leaflet for Aida, on mentioning it to my mum we discovered that it was my dad's favourite opera and thus the super secret birthday outing was concocted.

As there were four of us we booked seats in one of the boxes on the 2nd tier which was lovely, we had a pretty good view of all of the stage, the wonderful projections and the surtitles. We also had plenty of space to store our wet coats and umbrellas which was a great relief as the weather was a little inclement the day we went. Tea and coffee being delivered in the interval was a real luxury and meant no frantic queueing!

I don't know what I was expecting from an opera, I think I thought it would be a little stuffy and hard to follow but, this version at least, captivated me.

The actors, dancers and singers were all, in my opinion, very good. Their voices filled the Hall beautifully and event when the surtitles were brief the plot was easy to follow. The space in the Royal Albert Hall was used to the full, there was a fountain on stage at one point and sometimes the chorus were up above the 'gods' so the singing floated down in a truly beautiful way.

The score was performed by the Royal Philharmonic Orchestra and despite the scale of the venue every note could be heard. The people sitting next to us constantly referring to the RPO as 'the band' nearly had us all in hysterics, such wonderful music reduced to that!

I don't know that I am a convert to opera, I liked this fun, immersive style but when I've seen performances from the New York Met on the television it hasn't captivated me like this one did but never say never, and I am now looking for a good ballet to see to continue expanding my horizons.



The one thing that amuses me however is how sniffy critics can be about modern musicals and their 'thin' plots...to be honest Aida isn't a deep story and the characters all a little fickle. Of course opera is classical and culture so it is all okay - unlike musical theatre which is merely populist.