Theatre 2015: Review Twenty-One

Bakkhai, Almeida Theatre, London. August 2015.

The trouble with booking theatre in advance to ensure you get a ticket is that things like Tube strikes can crop up.  Luckily there are two train routes to London and one of these put the theatre in easy, if up hill, walking distance and so Rebecca and I weren't troubled by the strike at all.

I confess that I like Greek drama, to the extent of going to see it (and mostly enjoy it) even when it is performed in Ancient Greek and I was looking forward to this, even with it being a reworking of the script - but then what translation of a play that is 2000+ years old isn't?!

The story is a tragedy. The God Dionysus has been denied his status by the city in which he was born, and his mother branded a liar for claiming to have been Zeus's mistress. The young God has returned to Thebes in order to make the city accept him. He has turned his aunts mad and created a cult of women living in the hills above. His cousin, Pentheus, now king of Thebes really refuses to acknowledge Dionysus and so the two come face to face and the God systematically destroys his family and city. Cheerful stuff!

The staging was both wonderfully traditional, just three actors and a chorus, and cleverly modern (the chorus were all female) and from the start I was hooked.  There has been a lot of comment about the role of the chorus in reviews, and a lot of it has been negative. I however found them to be fascinating. A group of 10 women spoke and moved in absolute unison as well as singing many of their lines in a truly hypnotic fashion. The comments have called these interludes overlong and confusing yet when you go back and read a translation of the original play this is just how they come across. The Chorus speeches are the longest in the play and they do transform between Dionysus' supporters and the women of Thebes and to be honest even in the original text you are wishing they'd get on with it. In this version their singing did help me overcome this problem and I was swept away by the sound.

The three lead actors, male, played all the rest of the roles and while Ben Wishaw is getting all the credit for this play (and somewhat deservedly - he is totally compelling on stage) I found the stand out to be Bertie Carvel, who played Pentheus and his mother. Watching his downfall at the hands of a vengeful God was stunning and then to see him transform into his mother, also driven mad by Dionysus, was brilliant.

Much has also been said about Wishaw's costume in the play:

but again this androgynous look is a stage direction from the original and isn't there as a 'shock' tactic. Wishaw carries the look very well and there is a moment in the play when he fixes Pentheus' hair which was one of the most erotic pieces of theatre I've seen this year - and again this is in the original and is not a modern reading.

All in all I enjoyed this play, I wasn't sure about the Chorus arriving in modern dress with suitcases at the very start but it won me over and I find myself unable to stop thinking about the play which is a good sign. It may yet end up in my top 10 of the year.

The one downside for me is that however accurate and good Wishaw is in his costume he did remind me of both Conchita Wurst and the guy who play Jesus in the 1970s film version of Jesus Christ: Superstar!

Theatre 2015: Review Twenty

Measure for Measure, Shakespeare's Globe, London. August 2015.

I confess that I approached this play with some trepidation,  the play was a set text earlier this year and I wasn't at all sure what to make of it.  Luckily in the hands of the Globe I needn't have worried and this outing has rocketed high into my top ten performances of the year so far.

Measure for Measure is one of the 'problem plays,' both through content and disputed authorship! But as in Taming of the Shrew a few years ago a fine line was steered and the play clarified before my eyes.

Put very simply the Duke of Vienna is tired of his role, his city is out of control and so he decides to appoint a deputy and leave town.  His deputy, Angelo, starts off with good intentions but then proves himself as corrupt as the rest of Vienna. However in this play you can see that Angelo's actions are having an effect and that he is improving the city - before the official start the Yard was full of action, bawdy houses were wheeled on and drunks, prostitutes, corrupt law men and religious pamphleteers filled the area with a show.  These characters continued to pop up on the stage between scenes throughout the first act, but by the end we rarely saw them and the city was a better place... In his personal decisions Angelo may be corrupt and hypocritical but his ideas for the city as a whole weren't all detrimental.

The ending of this play is morally dubious. After preventing Isabella from being violated by Angelo the Duke all but forces her into giving up the religious life for which she was training and into marrying him.  The staging of this version did allude to this slightly - the Duke appeared to realise that his actions towards Isabella were little better than Angelo's, and in the end, it is clearly Isabella who makes the choice for her future.  For me I find the Duke's actions as reprehensible as the court in Merchant of Venice when it forces Shylock to convert to Christianity and I was surprised at the laugh this scene raised in the theatre when I was expecting a hiss...

The comedy was very much to the fore in this production and I liked this, the comic scenes felt very much integral to the story and not at all as light relief scenes between the drama. Once more my slight criticism could be that there was too much action off stage in the Yard but this was rarely actual speech, just added colour and so I'll just recommend this play to anyone who can get to London!

Theatre 2015: Review Nineteen

Mummy Mia, The Blakeney Players,Blakeney. July 2015.

As ever this review comes with the disclaimer that I know one of the cast and that I'm never going to be anything other than positive about the Blakeney Player.

This is a show that is totally impossible to review without you all thinking I've been indulging in illegal substances.

We opened with the music from the film Lawrence of Arabia and a sheikh staring into the desert distance as a pantomime camel appears on stage.

The next to appear on stage was explorer Gertrude Bell, the hieroglyphics expert Rosetta Stone and their colleagues Ray and a reluctant explorer, Livingstone.

Thanks to the magic of a cursed tomb we then slipped back in time to the reign of King Tut Tut and the invention of the pyramid. We visited the royal palace, a bazaar in Cairo and a camel race before ending up with the King from Memphis. There was also a dancing camel and an on-stage sand dance in the style of Wilson, Keppel and Betty.

You really had to be there but I can say that this is the most fun I have from curtain up to curtain down since the last Players' show!

The highlight of the show was the illusion dance (here's one I found on line but the Players' version was much better!) but from the dreadful puns to the grand finale this was a show that left us all with aching sides, big grins and a sense of wonder.  I don't want to wish time away but I'm already looking forward to the Christmas show.

I'm not the only one to really enjoy the show - the EDP reviewed it very favourably too!

Theatre 2015: Review Eighteen

As You Like It, Shakespeare's Globe, London. July 2015.

Unusually for Mr Norfolkbookworm and I we were at an evening performance for this and the first thing we noticed was the huge queue of people waiting for returns.  We're used to seeing long lines for those wanting to be a Groundling but never for seats.  I wonder if this production is more popular than others we've seen or if this is normal for evening performances.

For a play that has no real plot, that is just a sequence of events loosely tied together, I enjoyed this a lot.  The characters that were written humorously in the original (Touchstone, Audrey and Jaques) were not overblown and the Rosalind/Ganymede and Celia/Aliena beefed up their roles to match the humour which I found balanced the play very well. The male love interests in contrast did seem a little insipid and interchangeable - this was certainly an adaptation played to a comic and feminist slant.
I wonder if the director of the play also realised just how slight it is plot wise as the deus ex machina towards the end was certainly played up to be utterly ridiculous, which worked with the other staging decisions of the play.

The more Shakespeare plays I see the more I realise that the 'comedies' are not my favourite. There was nothing wrong with this one in terms of acting etc. but the slight plot made me long for some intrigue and seriousness.

After studying Shakespeare in depth I was also more bothered by the staging and extensive use of the Groundling area.  This would just not have happened at the time of the original Globe - the costumes were just too expensive to risk off of the stage, and although giving great opportunities for entrances and exits too much of the action is invisible from the Upper Gallery. A minor criticism as all of the actors projected well and I didn't miss a line of dialogue. I remain unsure about the bicycle and  the shopping trolley however.

A big shout out has to go to the Steward who was working the Upper Gallery, Mr Norfolkbookworm asked him an idle question about an instrument being played on the stage in the interval and although he didn't know the answer the steward (no name badge so I can't be more specific) went and found out for us and slipped the name to us during the second act.

Theatre 2015: Review Seventeen

Jersey Boys, Theatre Royal. Norwich. July 2015

Oh What a Night!

I've wanted to see this musical for a long time as I love the music and often have the soundtrack playing as I am walking/studying/avoiding the house work and it seemed as if the whole of Norfolk had the same idea - this booked out ages ago and the group of 5 of us were dotted around the circle rather than next to each other.  This doesn't really matter however as you shouldn't talk to the person next to you during the show anyhow!

Apart from the music I didn't know much about the story at all and I found the style in which the show was told to be both very interesting and at times slightly frustrating. Frustrating in that often only excerpts of songs I love were played and not the whole thing! The story itself hung together very well, was full of humour and sadness and at all times was really clear leaving you in no doubt who everyone was.  I also loved the way that the narrator changed throughout the show so we did get a rounded picture of the story, it really was about the Jersey Boys and not one person.

The cast were incredible and their voices so like the originals that I'd have thought they were miming if I'd seen a clip on TV.  It was an incredibly hot and humid night when we went yet they put their all into it and the singing and choreography was perfect throughout. My one possible quibble is that perhaps the writers didn't quite know how to finish the show as it did just abruptly stop, however as this gave the cast a chance to sing again it wasn't all bad. Seeing the live band throughout the show was a bonus and they deserved every cheer.

If the point of a hit musical like this is to leave you with a smile and humming the songs I'd say this was a real hit, and I think that if I got the chance I'd go and see it again in a flash.

Reading binge

Mr Norfolkbookworm and I have just spent two weeks on the Greek island of Mykonos. It was an interesting time to be in Greece with all of their financial troubles and the referendum but at no point were we ever greeted with anything other than smiles. We certainly added to the economy by eating and drinking lots of wonderful items - although we'll gloss over the sea urchins...

While we did do lots of exploring the main purpose of the trip was to unwind and spend lots of time reading.  I certainly managed this as in 2 weeks I read 23 books as well as plenty of relaxing.

• Boston Girl by Anita Diamant - a great read all about first generation immigrants to Boston in the 1900s. 

• Sagan 1954 by Anne Berest (tr. Heather Lloyd) - an imagined biography about the year in which teenager Sagan wrote and published Bonjour Tristesse.

• The Readers of Broken Wheel Recommend* by Katarina Bivald (tr. Alice Menzies) - a young Swedish girl visits her pen pal in the States to find she has died. Books were the link between the two and might just save the Iowan town of Broken Wheel.

• Early One Morning* by Virginia Bailey - set in Rome during the German occupation an impulsive decision to save a Jewish boy from being deported has repercussions for decades.

• Grey by E L James  - no words to explain why I read this.  It is dire.

• Hearts of Stone* by Simon Scarrow - before WW2 a German boy makes friends with two Greek teenagers on Lefkas during an archaeological dig. He is posted back to the island during the war...

• The Umbrian Thursday Night Supper Club* by Marlena de Blasi - I thought this was going to be fiction but was in fact the story of five women and their family who meet to have supper. The stories were interesting and the recipes had me drooling.

• Let Me Explain You* by Annie Liontas - a dysfunctional Greek family are contacted by their father to say he is dying and spend the time trying to unravel their relationships with him and each other.

• One* by Sarah Crossan - a young adult novel about a pair of conjoined twins. A bit predictable but still moving.

• The Summer of Good Intentions* by Wendy Frances - three sisters and their families return to their beach summer home but the summer doesn't work out as planned. A good holiday read.

• In the Unlikely Event by Judy Blume - in the 1950s three planes crashed on one small New Jersey town and the novel imagines the effects this had on some of the inhabitants.

• Anything to Declare by Jon Frost - a former Custom and Excise officer talks about some of his jobs.

• A God in Ruins by Kate Atkinson - I wasn't blown away by Life After Life but this companion novel enthralled me from the start and I liked that Teddy was a pilot in Bomber Command and not a fighter pilot.

• The Reader on the 6.27 by Jean Paul Didierlaurent - a very odd book that I don't think I 'got'. I am still not sure if it is a dystopian novel, a love story or a fable that I missed the point of.

• My Cousin Rachel by Daphne DuMaurier - A gripping psychological thriller, glad that a friend recommended it to me.

• Adeline* by Norah Vincent - a novel about Virginia Woolf that probably would probably have been lot more enjoyable if I'd known more about the relationships within the Bloomsbury Group.

• A Spy Among Friends by Ben Macintyre - another great read about the British spying world, this time with Kim Philby as the focus.

• The Martian* by Andy Weir - a gripping space thriller about a man left alone on  Mars after an accident.

• Finding Audrey* by Sophie Kinsella - a young adult novel which starts quite well but by the end seems to be too simplistically dealing with mental illness.

• Motherland* by Jo McMillan - the mother and daughter protagonists of this novel set in the 1970s and 80s are fervent communists and given the chance to visit the DDR, will they be disillusioned?

• The Bees by Laline Paull - a fascinating tale told from a bee's point of view. Hard to explain the charm of this but I always knew I didn't like wasps!

• The Girl on the Train by Paula Hawkins - a thriller like Gone Girl or Before I Go to Sleep.  I spotted the twist in this one but it did still give me nightmares.

• The Enlightenment of Nina Findlay by Andrea Gillies - Nina is involved in a serious accident while on a Greek island but we only learn why she is there as she talks to her doctor, but is he who he seems? A bit self indulgent and also the constant Americanisms really jarred for a book that is set in Scotland as well as Greece.

Not a bad collection of books, none that I gave up on this time.  Now I have to go to the library and pick up all the books I've reserved and are now ready to read...I'll need another holiday to get through them all!

All of these books except Sagan 1954 were read as eBooks and those marked  * were proofs provided by Netgalley.com

Theatre 2015: Review 16

Shrek the Musical, Theatre Royal, Norwich. June 2015.

I was vaguely interested in this when it had a London run, just not enough to plan a trip to the capital to see it, so finding out that Norwich was on the tour schedule came as a nice surprise.

I am really not at all sure what to make of the show however.

Visually it was stunning, the scenery and set were inventive, fun and worked in harmony with the rest of the show,  The costumes were also good - it did look a lot like the animation had come to life.  The cast were okay too with a couple of real standouts.  Just sadly the parts just didn't all come together to make this a 'wow' event for me.

I think that on the whole I blame the score and the sound for my feelings.  The songs were all original to the show - this is not a 'jukebox' musical like Mamma Mia or We Will Rock You, and yet unlike other original shows (Phantom, Miss Saigon etc) the songs were not catchy and for a lot of the time I found them to be incomprehensible and was wishing for subtitles! Duets and ensemble numbers seemed badly balanced and again often inaudible.

Bits of this show had me in absolute stitches - the drop in gags about other musicals were very funny, and Lord Farquaad stole the show every time he appeared on the stage.  The dragon was brilliant too - again puppetry proving that you don't need expensive animatronics to create effects. The scene with the Pied Piper and the rats was very well done too.  I just expected a little bit more.

It was a fun evening, I did laugh a lot and thanks to the end number I did come out humming a tune which is what you want from a musical but it just wasn't quite the fabulous experience I was  expecting and I'm glad I didn't travel too far to see it.

Theatre 2015: Review Fifteen

King John, Shakespeare's Globe, London. June 2015.

Completely by accident I managed to book us tickets for this show just one day before the 800th anniversary of the signing of Magna Carta by King John in 1215.  Of course he didn't stick to it but this is what he is probably best remembered for in history.

Shakespeare's King John doesn't mention the document at all, and in this production it is name checked thanks to lines from another play The Troublesome Reign of John, King of England being incorporated to the script - it has to be said this was very well done as I had only read the play a few days before seeing the production and I couldn't spot any 'sore thumb' lines.

This production has been touring around the country and the staging was very striking in the Globe setting, with a big walk way stretching into the Groundling area as well as two extra parts of stage to either side of this - sadly from where we were sitting in the Upper Gallery we couldn't see these although the acoustics of the venue did mean that we didn't miss a word.

 The view from our seats, the walk way went on much longer and there were two other free standing stage areas.

King John is about succession, relations with France and relations with the Papacy. The falling out with the British aristocracy which so marred John's actual rule is a very small side story towards the end of the play.  For such an episodic play I found the narrative clear and followed the twists easily, although some of the cross casting did seem to confuse a few people sitting near us.  I think that I might have been more confused had I not read the play in advance of seeing it!

The first act of the play had some amazingly strong female characters - some of the strongest I've seen in Shakespeare - and I loved the idea that as well being, possibly, not the legitimate ruler of England John was also still ruled by his mother.  The three main women are sadly forgotten by the second half (original play and not directing choice) but they certainly drive the first half and in many ways set up the action for the second.

As for King John - I couldn't help but like him as he was certainly channelling King John as portrayed in the Disney cartoon Robin Hood and that has always been my favourite classic Disney film even though it is very cheesy!

I wasn't sure of the production at the interval but it has grown on me.  The simple staging was good and it was nice to see the musicians so clearly during the production but after a while they did become a little distracting and made the stage seem cluttered.

Minor niggles as I did like the play overall just a little sad that we did miss so much of the action visually.

Disney's King John from 1973

Random thoughts about books and authors

A lot of tweets in my time line have been about sexism lately, and not just from the @EverydaySexism feed.  Fuel was added to the fire this week when Sir Tim Hunt, a Nobel Prize winning scientist, called for segregated laboratories as women were just too distracting to work with, and cried too much.  I may have oversimplified his points here but like a lot of people he made me very cross.  The comeback on Twitter were great with people (men and women) posting photos of themselves at work in the scientific world with the tag #DistractinglySexy.

I am lucky in the way that I have never felt discriminated against for being female but I have regularly experienced sexism, probably from people who are unaware their behaviour can be thought of as such.  For example I am a keen photographer and I am looking to buy some new equipment in the next year or so.  Mr Norfolkbookworm and I went to a camera shop and although it was me with the good camera around my neck, trying new models and asking questions the salesman repeatedly spoke only to M and handed him all the cameras to try.  Little things like that happen far too often.

However I am not sure how I feel about one response to this from the book world.  Recently an author I admire made the 'provocation' that 2018 should be a year when only women writers are published.  This is in response to another study that has shown that books about women are less likely to win book prizes.

I am what you could call a prolific reader, from my journal I can see that so far this year I have read 81 books.

46 of these have been by male authors.  Now as I am studying Shakespeare and other dramatists from the late 16th Century I thought I'd take these out of the totals...

Thus so far this year I have read 68 books, of which 33 have been by men.

And if I am honest I am quite happy with that.  I read a book because it appeals to me not because of the gender of the author.  In fact due to another project that I'll talk about later in the year a further twelve books I've read this year have been selected for me and I've had no say on the gender of the author and again this has had no bearing on my views of the books.

To me a book is either good or it isn't and that has nothing to do with the author's gender, it is about the subject.  I like historical fiction, 16th century plays, and Greek and Roman classics - these are traditionally by men and about men and I know my life would be poorer.

I think that as women we do need to pull down barriers and make sure that sexism is relegated to a thing of the past but I am not sure that publishing female authors only is the way forward. I'm still thinking about this a lot and these are just two of the thoughts going around in my mind...

The book trade has always seemed a heavily female dominated industry to me and yet the books are about men...

Are there more books about/by men because as a rule women read more and will read widely where as men need encouraging to read....

For those interested my book stats at the nearly half way point in the year are:

• 81 books read
• 46 by male authors
• 33 non fiction books
• 15 plays
• 11 books in translation

many thanks to my friend Sam @samruddock who blogs here for really making me think about this with a random tweet about his reading habits.

Theatre 2015: Review Fourteen

High Society, The Old Vic, London. June 2015.

As a rule Rebecca and I don't see many musicals but this one proved too tempting - a venue we like, at least one actor that we admire and an impressive artistic director - it all added up to a must see.  Added to that very reasonable ticket prices and no planned engineering works/strikes on the trains meant we skipped off to London midweek quite happily.

I certainly wasn't sure what we were going to see - I'd neither seen the film version of High Society nor The Philadelphia Story but that didn't matter as the story telling on stage was very clear from the beginning.  We were in a wealthy American household, somewhere on the East Coast, to celebrate the second marriage of a wealthy woman.  That the groom to be wasn't suitable or liked was obvious.  Thrown into the mix was the ex-husband (much loved by the rest of the family) and a threatened scandal involving a journalist and photographer...

That the plot was so clear was a real plus point as often I found the sound balance to be out meaning that the dialogue was unclear, occasionally inaudible, especially during some of the musical numbers.
The staging also baffled me.  Currently the Old Vic is configured into the round and so the stage space itself felt very cramped, and in some seats the audience had no where to put their feet save on the acting space. This stage design did allow for multiple entrance and exit points which were well used and it was well used in an acting sense - no part of the auditorium felt like it was neglected/unplayed - but for me I thought the production needed the pomp and status that a proscenium arch theatre can give.  As for the number of props needed for each scene and carried on by the ensemble, well I think that they may have had more stage time than the main cast.

Oh dear, this is all sounding terribly negative and while it wasn't the best afternoon at the theatre I've had it was still entertaining and a feast for the eyes.  I think I'd compare it to a Chinese takeaway - at the time you are satisfied but very quickly you realise that you are hungry again!

The highlights for me were certainly the male leads - Dexter, Mike and Uncle Willie plus the little sister Dinah.  They had great roles to perform and fabulous voices to do them justice.  There were some funny lines and witty staging but overall no more than pleasant fluff.  It all felt a little overblown in the wrong way and it really pains me to have to say so,

Cosmonaut Antics

 An evening with Alexei Leonov, Science Museum, London. May 2015.

What should have been a simple 'pop to London, have supper, meet a cosmonaut and come home again' evening turned into a near disaster this week - although of course not on the same scale of disasters that Alexei Leonov spoke about!  Trains conspired against us and instead of a leisurely ride we had a fraught drive to London but despite everything it was worth it.

This time the event was organised by the Science Museum and Starmus and we had the opportunity to hear the first man to walk in space - Cosmonaut Alexei Leonov - talk about his missions.  The event wasn't as well organised as those we go to in Pontefract, the doors opened late, there was lots of unexplained queueing and then a scrum in the auditorium but all of that faded away when the talk proper started.

Leonov didn't use fancy technology for his talk, but rather sketched what he was describing onto a blackboard which was a lovely old school, interactive way to get across his message.  Like all of the best speakers on the space programme there was a perfect balance of science, anecdote, humour and tension in Leonov's talk.  Although it was clear that he had survived his missions the way he described the first ever space walk was heart in the mouth stuff and as nerve wracking fifty years later as it much have been at the time!

The human touches of the speech will always stick in my mind more than the technical aspects and I am left with the image of Alexei and his commander stuck in the wilds of Russia after landing stark naked in the middle of winter as they try to dry out their space suits a little!

The talk took a fine line between toeing the Soviet/Russian line of secrecy and positive spin and what seemed like Leonov's own desire to be open and honest but to be honest none of that mattered to me, I was just so pleased to have the chance to hear from another great from the early space programme.

Two things really struck me about the event - one was Leonov's wholehearted praise for British astronauts - Helen Sharman and Tim Peake, The other how hard the interpreters worked on the night.  Leonov spoke in Russian and this was turned into English by two very talented interpreters who kept up with his technical speech and humour wonderfully. I don't speak Russian but I could spot enough to be amused at their turning every 'Soviet' into 'Russian' regardless of what term would have been historically correct! I gather that there was also another team taking the English in to Russian for Leonov and the Russians in the audience.

After the hour long talk Leonov was created a Fellow of the Science Museum and then their was an opportunity to get an item signed by him.  This was by necessity short and sweet as Leonov, who is 81 next week, was obviously shattered after a long day of events, but I am very pleased to have been able to meet him and, in execrable Russian say Спасибо.

It turns out that some of the delay in the start of the event was because behind the scenes in the museum items on loan to London from Russia were being moved about ready for the Cosmonauts exhibition in the autumn - something else to look forward to!

Theatre 2015: Review Thirteen

The Merchant of Venice, Shakespeare's Globe, London. May 2015.

Just three days after seeing Romeo and Juliet with mum I was back at the Globe with Mr Norfolkbookworm although at one point the trains again seemed to be working against us and I wasn't certain we'd get there in time.

I'm so glad that we did get there because this is a glorious production from start to finish.  It had a huge cast compared to earlier in the week and sumptuous costumes and I really felt I was living in Venice and not twenty-first century England.

This version of the play gave a lot of humanity to Shylock - he is treated abominably by the Venetians and his insistence on the pound of flesh becomes far more understandable; however his treatment of his daughter and his lament for his money not her balances this out. He has become a complex character and not a pantomime villain nor a martyr.

I found the Venetian men to be arrogant and far more villainous in this staging but even then they were reined in enough that I still felt sympathy with them, and the reading of Antonio and Bassanio was heartbreaking.

I found the female characters to be fully rounded and fun to watch.  Portia's scenes with  her suitors were suitably funny but not overblown and her turn as the disguised lawyer was very well done - she was well enough disguised that when Bassanio failed to recognise her in the courtroom scene I could believe this. Jessica's scenes with her father - especially those in Hebrew - were brilliant, her scenes with her lover/husband slightly less so.

The other 'comic' character in the play was also suitably restrained, and rather than being tedious the small amount of Groundling interaction really worked.  There was just enough levity in the play to relieve the tension of the main plot but it never got out of hand.

The last time I saw this play I was left feeling uncomfortable about the way the inherent anti-Semitic plot strand was handled but in this version I found it to be sympathetically staged whilst still being abhorrent.  There was a clear delineation between Jessica's conversion and that of Shylock which made a very moving finale to the play. The ending did mean no jig but this was the right decision.

I did wonder how Jonathan Pryce would find the open space of the Globe theatre but he had me in the palm of his hand I hope he'll become a regular actor there.  The nice touch of casting his real life daughter as Jessica worked wonderfully too, stunt/celebrity casting at its best.

Theatre 2015: Review Twelve

Romeo and Juliet, Shakespeare's Globe, London. April 2015.

My mum was my theatre companion for this trip with a long awaited Mother's Day present, and what a way to start the 2015 Justice and Mercy season.  In the last few months I've written two essays about this play but this was my first trip to see it on stage.

Called a stripped down version of the play on the website I worried that it was going to be very cut but what they meant was a minimal stage and only eight actors - but how hard these guys worked.  All except Romeo and Juliet played multiple parts and the costumes involved cloaks being pulled over beige trousers and white shirts.  It could have been a disaster...

...it wasn't. In fact it was spellbinding.  To avoid confusion with the doubled parts scenes would often play on top of each other - at the start I wasn't sure about this.  The initial brawl between the two houses with my favourite thumb biting lines played around the chorus' initial speech, then during the main body of the play half a scene with some characters - eg Juliet, her mother and the nurse - would freeze and half a scene with Romeo and his friends would happen.  It sounds terribly clumsy on the page like this but worked very well visually as it made it clear which role was being played at any one time.

This is a touring play that has a very short stay at the Globe and for that reason the interplay with the groundlings did seem less obvious than in Shakespeare plays that I've seen at the venue and more like the new plays performed there but while I noticed this it didn't detract or add anything in particular to the play.

I wasn't quite moved to tears by the end, I'm not sure that this venue is intimate enough for such emotions to happen or if I have just studied the text too much in the past few months. I was still transfixed throughout, as was most of the audience which contained some of the best behave school children I've ever seen at the Globe.

I do have one question about this production - what were the temporary tattoos for? The costumes were totally neutral with no date or place setting but the tattoos stuck out as incongruous, as there was so much doubling of parts they can't be explained as being to denote Capulet or Montague so I remain perplexed.

That being said this was a great day out and if the tour comes near you this year I really do recommend seeing it.  I'm considering going to Cambridge to see if an indoor venue is more intimate and emotion inducing.

Return to Flight

Space Lectures event with Colonel Eileen Collins, Pontefract. April 2015.

Once more Mr Norfolkbookworm and I did battle with the road network linking Norfolk to Yorkshire for the chance to meet another astronaut.  Unlike previous events this one was with a much more recent space flier and indeed the first female Space Shuttle pilot, and later commander.

For me this was as exciting as meeting the Apollo era astronauts. I'm a child of the shuttle era and did see the launch of STS-123 in March 2008.  Sadly this wasn't Col. Collins' flight but the experience will stay with me forever.

We went to the dinner on the Friday night and this was a nice chance to catch up with the people we've met at other events and to help fund raise for more events in the future but the really exciting thing for me is the Saturday lecture.

We were spoiled this time as Col. Collins talked for well over an hour, mainly about her flight as the commander of the first space flight after the Columbia accident.  The talk, and I can't call it a lecture because despite an audience of 300+ it did just feel like a cosy chat, included photos, videos and anecdotes. It was pitched just right for the audience with it being neither too technical nor too basic.

After the talk there was a chance for audience questions and again I was impressed with the thoroughness and honesty of the answers given.  Space sickness is often dismissed by astronauts but Collins admitted to 'stomach awareness' on her first flight and that she took medication to avoid this on her subsequent one.

I was lucky enough to ask a questions and it was along the lines of will there ever be an all female crew, and if it would be a good idea.  The answer was that there certainly is no reason why there shouldn't be (and that the female astronauts did play 'fantasy crews' where they made them all female) but that personally Collins would not want to be part of it.  Her reasons were two fold - she wouldn't want the media pressure that such an event would generate and also the fact that if anything (however small) went wrong it would always be blamed on the sex of the crew.

This last point was illustrated with an story from Collins' first flight - on which she was the pilot - a booster returned to earth after being jettisoned from the External Tank and hit a wave wrong as it splashed down which damaged it.  Although this had nothing at all to do with anything that anyone on the Shuttle could have done it was still jokingly put down to having a woman driver.

Now I am sure that this was just lighthearted banter but for me it highlights just how far women still have to come in every field of work. Again I appreciated Collins' honest answer.

After the talk we waited to get Collin's autograph and now I have another cherished piece of space memorabilia as Eileen  Collins signed my own photo of a space shuttle launch.

(this is an edited photo of a photo hence the poor quality)

We'll be back in Pontefract in October as Jim Lovell of Apollo 8 and 13 fame will be the guest speaker, but before then we've also got tickets to meet Alexi Leonov - the first man to complete a space walk.  It is shaping up to be another out of this world year!

Catching up on some reading thoughts

Netgalley short reviews

While I have been studying hard this semester I have also taken some down time and read quite a few books thanks to Netgalley's proof system.  I read a lot of these a while ago and so they are simple reviews, nothing in depth but they should hopefully give a flavour of the book.

Etta and Otto and Russell and James by Emma Hooper
This was another book about an older person undertaking an epic journey, this time Etta is walking across Canada to see the sea.
I'm afraid that this one didn't make much of an impression on me, it just felt like more of the same. Nothing wrong with the book and the back story was interesting, just a bit 'meh.'

Station Eleven - Emily Mandel
A book set in Canada with a Shakespearean plot plus a world rebuilding after an devastating 'flu outbreak. This had a lot of elements that I really liked, and I can see why there is so much positive buzz surrounding it, however I spotted the 'twist' really early on which surprised me and disappointed me slightly.  I will try more of Mandel's books and this was an interesting read overall.

Hausfrau - Jill Alexander Essbaum
This was another book that had lots of buzz surrounding it and I really liked it.  It wasn't at all what I was expecting and it really was refreshing to read a book that was so different. Once more I spotted how it would end, just not how and I do recommend the book - be warned however as it is a little (!) bit racy at times.

The Last Days of Rabbit Hayes - Anna McPartlin
An unashamed weepy, chick lit novel and perfect for those who like Marian Keyes.  You will need tissues.

Laughter in Ancient Rome - Mary Beard
A fun read about what the Romans found funny, an accessible yet academic look and as to be expected from Beard stresses that what survives is from the elite, male class and we still don't know much about women and lower classes found funny.

Disclaimer - Renee Knight
This is a page turning thriller that like the best scary book has a very realistic setting.  At the front of a book there is usually a disclaimer that the characters and actions included are fiction...this time the book stresses that the story is real. The book also appears mysteriously on Catherine's bedside table. I'm not going to talk about the plot anymore as anything could be construed as a spoiler and I surprised myself by really enjoying the book as it really isn't my usual type of story at all.

The Truth According to Us - Annie Barrows
A few years ago the book Guernsey Literary and Potato Peel Pie Society burst into the book world and quickly became one of my favourite books of all time.  The surviving author of that book has now written her first novel and happily I think it is just as good.  It is set in West Virginia during the Depression and is written so visually that I thought I was there in the oppressive summer heat. The plot revolves around the research undertaken for a new town history and slowly the truth unravels...brilliant reserve it from your local library now ready for when it is published in June.

The Little Paris Bookshop - Nina George (translated by Simon Pare)
I loved this book, another whimsical French novel.  Jean Purdue runs a bookshop on a barge in Paris but when he discovers that an incident in his past wasn't quite what he thought he pulls his moorings and, along with an author suffering from writer's block, sets sail for the South of France.  It is perhaps a bit far fetched at times but is wonderful escapism, and as Jean calls himself a book doctor I was instantly smitten - after all we run this service at the library!

The Oregon Trail - Rinker Buck
I'm only half way through this but I'm finding it hard to put down.  Rinker writes very much like Bill Bryson and on finding out a little about the Oregon Trail decides to recreate the epic waggon journeys of the 18th century.  Along with his brother he sets out in a covered waggon with three mules to travel 2000+ miles.  The book is a mixture of history, humour and autobiography and so far the balance is perfect. As a fan of the Little House on the Prairie series of books, and having visited some of the frontier towns in the USA,  finding out more about the journey behind the westward expansion is great.  I hope the second half is as good.

The French do it again...

Book Review:
George's Grand Tour - Caroline Vermalle (translator Anna Aitken)

I won this in a competition on Twitter but there was no obligation to review the book, however after finishing it I knew I just had t o share this book with everyone - in fact my sister already has the physical copy!

It starts like so many books currently, with an old man planning an adventure that will take him away from home and fussing family.  This time George and his friend Charles are going to follow the course of the Tour de France - not on bikes, they are over 70 after all - but by car.  They are going to take their time, seeing all of the sights that the commentators mention when the cyclists whizz by.

George's escape is almost thwarted when his estranged granddaughter gets in touch but thanks to the mobile phone all is not lost.

The account of the hit and miss nature of hotels when you are on the road really stuck a chord with me and the descriptions of food made me salivate and work out when we can have a trip to Normandy and Brittany.

This is another book from the Gallic Press and I think that they really have a talent for picking books that are beautiful, whimsical and with real heart. I haven't yet read one from them that I didn't like.

I'm not going to say any more about this book as I want everyone to discover it like I did, the twists weren't what I expected at all.  My one word of advice - possible don't read this on a crowded train...

Theatre 2015: Review Eleven

Shakespeare in Love, Noel Coward Theatre, London. April 2015.

Apologies for the radio silence - April has been an important study month with two essays to research and write.  I've broken the back of them now and so time to catch up on other areas!

Way back at the start of the month a friend and I went to London on a whim to see Shakespeare in Love. For me it was a recommended play/film for my Shakespeare's Legacy course and my friend is also studying Shakespeare currently.

This was a delightful way to spend the afternoon, the play followed the film throughout and now that I have spent a few years studying the Bard I found it a lot funnier than I recall. In fact at a couple of points my friend and I found ourselves laughing at lines that others in the audience didn't...

The set for this play was magnificent and very clever as it moved back and forth to show the different locations in which the action takes place.  Some of my favourite parts were very simple, for instance when Shakespeare is in the row boat cast members dip hands in and out of buckets of water to create the sound effects.  The use of the actors to move the scenery was very well done, and I liked the way that most of them appeared on stage throughout. It did remind me in someways of Elizabethan/Jacobean theatre as staged in the two theatres at the Globe but was still modern. It mixed the styles very well.

Sadly this play closed in the middle of April but I hear rumours that it will be going on tour and if it does then I do recommend trying to see it.  It is a fun romp that leaves you with a smile and sometimes that is just what you want from a play. This is the first film-to-play show that I've seen and I think that it worked very well, I do wonder if a lot of this is due to the fact that Tom Stoppard (renowned playwright) wrote the script to the film.

There is also an adorable dog in the play who steals the show entirely in the couple of scenes he appears in - although I'm not sure he deserved the biggest cheer at the end!

Theatre 2015: Review Ten

The Broken Heart, Sam Wanamaker Playhouse, Shakespeare's Globe, London. March 2015.

**Preview Disclaimer**

After a relaxed morning book browsing our way around London we came to the last play of the weekend and The Broken Heart by John Ford having decided on the spur of the moment to see this after finding 'Tis Pity She's a Whore so good in December.

This time we were seated in the Pit (yes we have now tried every area except the musician's gallery) and sadly the discomfort of the seats here nearly outweighed the brilliance of the play.  You are certainly closest to the action here, and can see every area that the performers use but you really do pay for it in comfort.

Anyhow the play...another triumph for the Playhouse. What could so easily be an over the top nonsense of a play had real heart and charm with characters that you really believed in.  At the interval Rebecca and I were trying to predict what would come next and while we knew it was a tragedy and that lots of the characters would die we didn't guess the correct ones or the correct means of death which just shows how good it was.

The cast really did work together as a group in this play, and the spectacle and shock were well handled - this might also be the least gory play I've seen at the Globe (except Farinelli) in about a year and as there was still quite a lot of blood this is saying something!

When watching plays by writers who were contemporary with or came just after Shakespeare I really do notice the difference in language and I can see why so much of his work has survived and how he has become the national poet, however I do like the work by these other writers and am so glad that we can now see them in a venue very much like where they intended their plays to be seen.

This was again a performance of a production in preview, I think it was the third or fourth performance, but again as an audience member you really wouldn't have known. It all ran smoothly and there were no noticeable line/cue/prop stumbles.

This was my last trip to the Sam Wanamaker Theatre this winter season, in fact my Globe season starts in about 6 weeks, and after being unsure of the venue this time last year I know now that I will be awaiting the winter 15/16 season.  I will also only be going if I can get certain seats in the lower gallery! I do hope that next winter there is some late Shakespeare performed here - I'd love to see A Winter's Tale or Cymbeline here.

Theatre 2015: Review Nine

Rules for Living, The Dorfman Theatre, National Theatre, London. March 2015

**Preview Disclaimer**

After a break of a couple of hours we were back on the South Bank to see the second play of the day in the newly refurbished Dorfman Theatre.  As this is a 'black box' theatre that can be reconfigured for any play I'm afraid that I didn't notice any changes in the actually auditorium but the foyer, cafe, cloakroom and loos were all very nice!

This play couldn't have been more different from Man and Superman if it has tried and if we hadn't known this was only the second preview I don't think I would have guessed.

The set depicts the ground floor of a large house - living room, dining area and kitchen - all set up on a basket ball court complete with electronic score board at either end.  It is Christmas Day and the family are gathering for Christmas dinner.

It is like watching a car crash in slow motion.  There are secrets in the family which slowly become clear and all of the main players have created their own 'rules for living'. As these become relevant they are flashed up on the scoreboard, this means that as the audience we saw extra humour in the characters that wasn't in the script just by their actions. One character for instance can only lie if he is sitting down and eating something, and as he is with a girl friend he doesn't love and has another secret this becomes very funny very quickly.

The car crash element is because I'm pretty sure anyone who has every had a family Christmas can recognise some of the tensions/actions in the play and seeing your life experiences in glorious Technicolour is excruciating.  Because this is so heightened not every experience is personal so there is some relief and some bits are just funny but I imagine that every audience member finds these different.

Other early reviewers have complained that they found the whole rules for living tedious and overblown but I liked this part of the play - for me it was the end that 'missed' slightly. I think I would have liked it to end just one scene earlier, but as it is a play about cognitive behavioural therapy I can see why it continues, it just would have remained a total comedy for me without it.  However as I have continued to think about this play more than the other two that I saw this weekend it must be doing something right.

In some real theatre geekiness Rebecca and I were sitting near lots of people who were taking notes on this preview performance and in fact I was sitting next to the director, Marianne Elliot.  They were all writing copious amounts so I don't know how much will change between the previews and opening night.

This was uncomfortable fun for me and while I don't think it will make my top 10 at the end of the year it was fascinating to see a new play, in a new space by a relatively new (and female) playwright.

If you are sat in the lower gallery at the front look out for flying eggs...

Theatre 2015: Review Eight

Man and Superman, The Lyttleton Theatre at the National Theatre, London. March 2015.

There has been a little gap in my theatre jaunts, partly thanks to fear of bad weather and partly because the train line between Norwich and London has been so appalling this winter, however recently Rebecca and I had one of our mammoth theatre weekends in London.  Three plays in effectively 27 hours.

First up was Man and Superman which in its own right is a bit of a big-one coming in at over three and a half hours.  Mainly it has to be said due to the author, George Bernard Shaw, who seems never to use one word if fifty will do and then to say it all twice.

That being said this was still, thanks to the cast, an enjoyable experience.  Jack Tanner, Ralph Fiennes, has been appointed an unwilling co-guardian of his friend's daughter Anne.  He is what in the early 1900s was a new man and not keen on this burden and as a radical thinks himself unsuitable for the role and for romance in general. Anne thinks him ideal for the role and also a great romantic catch.

While the acting, costumes and set were all good I did find that some of the ideas that Bernard Shaw put forward as progressive in his time now felt dated and entirely sexist. Anne is not really an independent and intelligent woman but rather a scheming manipulative one who always gets her own way.  Jack and her mother both see through her but seem unable to stop or change her and as a result I never warmed to her character and really hoped that the play would have a different outcome.

The play is so long because stuck in the middle of the action is a dream sequence where Jack Tanner morphs in to Don Juan and ends up in hell debating philosophy with the devil.  This started well and was wonderfully different from the rest of the play but just went on for too long and in the end I did lose a little of the plot and was longing for Andy Hamilton's version of the devil from Old Harry's Game to appear and put an end to it.

Oh dear - again this sounds terribly negative and this isn't quite how I feel about the play. There was a lot of humour and visually it was a treat. It was also brave to stage the whole thing and without the excellent cast this would have fallen completely flat but I do think that a little editing wouldn't have gone amiss, and I was uncomfortable with the way woman in the character of Anne was portrayed.

Rebecca had an interesting idea - the play should be restaged but with the main characters' genders switched...

This play will be broadcast live to cinemas in May but once was enough for me on this occasion.

Advance reading

The Last Pilot by Benjamin Johncock

Reviewing a book by someone you know, and that you bump into on a frequent basis is actually quite nerve wracking.
Add in to the mix that their new book is on a topic that you love, and know quite a lot about.

To say I approached The Last Pilot with trepidation isn't entirely the truth however, since the author announced it had a publication date I'd been haunting Netgalley.com daily hoping that a reading copy would be available for request.

It duly appeared and I was approved for a download.  As soon as I'd finished my required reading for uni I did turn to it and then read pretty much non stop to the end.  I was very lucky that the following day was a day off!

The book took a little getting used to at first as there were no speech marks but this was good - it slowed me down (a little).

The publisher blurb tells more about the book than I ever could - and decides what counts as a spoiler:

FROM AN AWARD-WINNING WRITER, A GRIPPING DEBUT NOVEL OF THE SPACE RACE THAT EXPLORES THE INNER LIFE OF A NATIONAL HERO—AND ASKS WHAT IT MEANS TO BE COURAGEOUS IN THE FACE OF UNTHINKABLE LOSS
Jim Harrison is a test pilot in the United States Air Force, one of the exalted few. He spends his days in a precarious dance with death above the Mojave Desert and his nights at his friend Pancho's bar, often with his wife, Grace. Both are secretly desperate for a child—and are delighted when, against all odds, Grace learns that she is pregnant.But Sputnik has put the country in a panic, and NASA, newly formed, has been tasked with manning space before the Russians. Harrison turns down the chance to participate in Project Mercury and becomes a father to Florence, his baby girl. Yet his life, as a father and as a pilot, grinds to a halt when she becomes seriously ill and dies at the age of two. Devastated, Harrison loses himself in his work—and, sometimes, in distressing thoughts of Florence—and this time, when he gets a ticket to the moon, he takes it, but without consulting Grace.As Harrison trains to become an astronaut, the toll that his daughter's death has taken upon his marriage becomes more palpable, even as his ability to reckon with the reality of it diminishes. Set against the backdrop of one of the most emotionally charged periods in American history,The Last Pilot is a mesmerizing story of loss and finding courage in the face of it, from an extraordinary new talent.

What I loved about the book was how little like a novel it was, at the back Johncock lists books he consulted for the research (I'd read all but one of them!) and I really felt that his book stood alongside them as a biography of the time and age - just with an invented character which made it fiction.

The repressed emotion shown by Harrison was perfect when compared to the biographies and autobiographies of the early astronuats - you know that they had to have feelings but that they were repressed to the Nth degree to keep up the image of the macho astronaut.

However this (accurate) emotional distance did keep me a little distant from the book as a novel hence my constant forgetting that it was fiction.  This may be down to my own knowledge of the topic matter and I really look forward to talking about the book with people who don't know the source stories as well as me! The book has enough story that I think it will satisfy people who are 'space nuts' and those who like a good story set in the 1950s and 60s.

I've been to many of the physical places mentioned in the book, and met several of the real men featured and I am so pleased that this book adds to my experiences and, unlike some works on topics I like, send me either screaming back to the sources or ruin my interest entirely.

The book isn't published until July in either the US or the UK but add it to your wish lists now.

Please note that although I know the author the book was provided through Netgalley.com, the review is entirely independent and I have received no recompense for writing it.

Theatre 2015: Review Seven

Farinelli and the King, Sam Wanamaker Playhouse at Shakespeare's Globe, London. February 2015.

Liking and admiring Mark Rylance as an actor has become hugely popular this year thanks to his role in Wolf Hall and as a result of this Rebecca and I were pleased to have booked tickets to Farinelli and the King way back last year.  We already knew he was great without waiting to see him on the small screen!

So much could have been wrong with Farinelli - it was a new piece of theatre (with music/opera), written by Rylance's wife for him and performed in a theatre that is not the most comfortable to sit in.  Luckily we found it to be a great afternoon.

It is based on a true story where the King of Spain is mad.  The play opens with the king (Rylance) lounging in bed fishing in a goldfish bowl and talking to the fish.  His state of health is ambiguous at this point as he mostly seems lucid.  His leading ministers are not happy with him and think that he should be replaced.  His situation worsens but with the help of his wife and doctor a new cure is tried - that of music and the leading castrati of the day, Farinelli, is invited to court and appears to cure the king.

There are a few nuances and added parts to the story but it remains very simple and very affecting, the king remains mostly well as long as Farinelli sings.  There is a very interesting device used for Farinelli however, and one that I didn't spot at first.

When Farinelli is singing the actor playing the role doesn't actually sing, someone else - when we saw it Iestyn Davies provided the amazing voice - appears on stage next to Farinelli and they mimic each others movements.  It sounds terrible written down but on stage worked amazingly, Farinelli the man wanted to be seen as different from the voice and so on stage he physically was.  Only in the very last scene did the two men actually interact and that added more poignancy to the piece than anything for me.

While the play was very good I have to say that I did find it a little jarring that despite the setting and costumes all being redolent of the 1700s the language used was entirely 21st century.  It made for some funny moments but did create a little barrier between me and the play.  Possibly a bad attempt at replicating actual speech from the time would have  been just as bad however!

This was a lavish production with not a weak member of cast and a full ensemble piece - something that I would imagine is hard to create when Rylance is the leading man.  His charisma and skill shone through and I am now desperate to see him on stage in a truly modern piece.  Farinelli and the King has a very short run at the SWP and while I'd love to see it transfer so more people could see it the setting was ideal and in a bigger venue the intimacy created here could not be replicated I feel.

Theatre 2015: Review Six

Edward Scissorhands (ballet), Theatre Royal, Norwich. February 2015.

It has been nearly two weeks since I saw this and yet I still find myself at a loss when trying to write about it.  For all the right reasons I hasten to add - it was a piece of perfect theatre.

I'm pretty sure I saw the movie back in the 1990s but again I went to see a Matthew Bourne ballet knowing very little of the plot intricacies and once more it didn't matter - the story just unfolded naturally in front of me.

Often theatre reviewers and critics say that if you notice things like the scenery and the lighting then there is something lacking in the event but in this case absolutely everything was perfect and worked together - you were supposed to notice the lights, the nets etc. At the end I was crying and yet hadn't realised that this was the case.

I came out of the performance gobsmacked that there were empty seats and it is only because I couldn't fit it in that I wasn't back at the Box Office buying tickets to see this again and again.  The one thing I feel bad about it telling my mum that she has to see this only to find that her local theatre isn't showing it.

Staying with the French theme

Book review: The Red Notebook by Antoine Laurain

My top book of the year in 2013 was the wonderful President's Hat and for the past six months or so I have been periodically tweeting with the publishers (@gallicbooks) about if and when the next book by Laurain is due.

Persistence paid off last week when the very nice team at Gallic Books popped an advance copy of The Red Notebook into the post for me.  Luckily I am up to date with my studies as I'm afraid all work instantly stopped and I plunged straight into the book...and pretty much didn't surface until it was finished.

The light whimsical tone of the President's Hat remains but this time the book is more contemporary and features a wonderful protagonist, Laurent, who runs a bookshop in Paris.  One morning he discovers an abandoned handbag in the street and decides to set about finding who it belongs to.

The story is part mystery, part family story and part love story and all the strands work beautifully with each other - you can see the disasters looming but Laurain, and his translators, don't overplay anything and the story feels real as well as very much like a modern fairy tale.  

I loved it, the book is different to The President's Hat - possibly a little more mainstream and conventional - but it is still a fantastic read for anyone, and for those with a little French knowledge some of the wordplay is fantastic but the humour totally works without knowing this extra layer!

Many thanks to Gallic Books for sending me a copy so early - the book isn't published until 14th April - and for letting me talk about it in advance of publication.

Theatre 2015: Review Five

Boeing Boeing. Maddermarket Theatre, Norwich. January 2015.

Up until now a mixture of laziness and inability to work out what the day is has stopped me going to the Maddermarket Theatre here in Norwich but last week I finally got there.  Thanks to the weather and a hurried change in companion I nearly didn't make it but I am so glad that I did.

The theatre itself is very important in the field of Shakespeare Performance studies and I keep coming across mentions of the building in journals and reference books as I study - a brief explanation as to why is here.

My first visit wasn't to see Shakespeare however but to see a 1960s farce, translated from a French original.  I've discovered over the past few years that I quite like farce as a genre but that it has to be done very well to succeed. This was done as well, or if not better than the touring London companies that I have seen.

Bernard lives in Paris, he has a nice apartment, a long suffering (and scene stealing) house keeper and three fiancees.  The three fiancees aren't a problem however as they all work as air hostesses (this is set in the 1960s remember) for rival airlines and their schedules mean that they are never in Paris at the same time... until they are.

Luckily for Bernard his hapless but romantic friend from Wisconsin has just flown in and so everything will be just fine...

The tension and humour built brilliantly throughout this play, and coupled with some wonderful stage falls and expressions I was in stitches for much of the play and wonderfully for a farce the ending was perfect and not at all a let down.  My hat goes off to all the actors for keeping up such a pace without once losing momentum.

My companion on the evening was Mr Norfolkbookworm and he is more of a film person than a theatre goer so on the next night we watched the film version, produced just a couple of years after the original stage play.  It really wasn't very good at all, the humour was missing and the chemistry between any of the characters - we both agreed that if we'd seen the film first we'd never have gone to the theatre.

I'm now sitting here with my diary trying to work out just how many other things I can see by the Maddermarket company in among all the other things I already have booked.

Theatre 2015: Review Four

Assassins. The Chocolate Menier Theatre, London. January 2015.

After the previous uninspiring theatre trip and a week spent nursing an ear infection I can't say I was particularly looking forward to the trip to London for this.  Coupled with the fact that my last two plays directed by Jamie Lloyd (Richard III and Macbeth) have been among my worst experiences at the theatre it really wouldn't have taken much to see me call this visit off.

However the lure of the venue and the cast saw me negotiating the complicated rail timetables and heading to the theatre.  I am so pleased I did.

Apart from being about the people who have killed (or tried to kill) the Presidents of the United States I knew nothing about this show at all and got quite a shock as we entered the auditorium through a creepy, run down clown's mouth past a dodgem car into a really grungy old travelling funfair come circus set.

The musical was as creepy as the staging, and I mean that in the best way, I was on edge the whole time and totally unsure as to what was going to happen or how.  The assassins brandished guns with abandon and as the venue is so small to be looking down the barrel of a gun at that close distance coupled with the manic grin of a mad assassin meant that the hairs on the back of my neck didn't lay down for the whole 75 minutes of the show.

I hadn't read reviews or the programme so the small casting twist took me totally by surprise and worked wonderfully.  I didn't come out humming the songs but I know that it will take a long time to let the images of the show calm down in my mind.

Another (sell out) hit from the Menier - now let me go and look at their schedule for the rest of the year...