So far this year, I’ve been to London to see two versions of Shakespeare’s “Richard II” – first at the Almeida Theatre, and then last weekend at the Sam Wanamaker theatre at the Globe. (I’m also seeing Richard III later in the year, as well as the Globe’s three-plays-in-a-day marathon slog of Henry IV Part One, Henry IV Part Two, and Henry V – by the end of that, I may be somewhat kinged out!)
The Almeida’s production was a modern interpretation, and much-abridged – it had a run time of 1hr 40mins, which was pretty much the same as the first half at the Globe. By comparison, the Globe’s was more traditional in how it was staged and performed, but with a cast entirely of Women of Colour (WOC).
It’s been interesting to compare the two, so I thought I’d write a bit about it here. Obviously all views are my own, and all that jazz. It’s also worth pointing out that I had done my usual thing of going in with no real idea of the story, chronology or characters, which sometimes doesn’t help.
I found the Almeida’s production to be far harder to follow – and primarily that was because of how it was being staged. The entire stage was made into a steel box, with no active exits (there had to be some, for getting on/off the stage at least, but they weren’t used during the actual production) which meant there could be no cleanups, no costume changes, and no scenery changes. That meant it was hard to actually keep track of who was who – and even more so with a reduced cast. As an example, one actor’s first character died off fairly early on, and they then played a different character (and possibly two) but still wearing the blood and costume of the first role – which meant it was pretty hard to follow. Honestly, I’d almost rather have just had the actors wearing placards with names on, in order to explain who they were at any one time.
Additionally, the abridging of the text – and the speed with which it was performed – made it even more confusing, with seemingly more focus on people chucking gloves at each other than the actual plot and actions.
So all told, I didn’t like the production that much – I felt there was too much that got rushed, or that made no sense at all. It was interesting in many ways, but also fairly high on the infamous “Load of old bollocks” scale.
The Wanamaker / Globe version
The production at the Wanamaker was (for me) far preferable. I’ve found I have very few issues with changing roles/stereotypes and doing things differently – particulary with Shakespeare, the story seems to take precedence over who’s doing what, so it doesn’t matter (to me) whether Richard is played by an older white man, or a coloured woman. I know it annoys purists and so on, but I truly don’t feel it matters.
I’d not been to the Wanamaker theatre before, but really liked it – the entire thing is lit by candles (with the exception of the windows ‘out’, which are lit changeably with LEDs, although it’s not intrusive) which makes for an interesting semi-authentic feel. (It also means that there’s a person in the cast/creatives list whose title is “Candle Consultant”, which is pretty special)
The production itself made a lot more sense to me – the cast size is similar (I think there’s one more cast member in the Wanamaker version) but because they’re allowed off-stage to change costumes for the different roles, it was far easier to follow who’s who and so on. Additionally, the extra run-time meant that it didn’t feel rushed, which also helped.
I’m glad I went to see both productions – but in this case I far preferred the more traditional version at the Wanamaker to the modern/short version at the Almeida.
This weekend, I saw my final performance of the year – I know there’s only three weeks to go, but still, I’m pretty sure I was seeing stuff ’til later in the year last time round.
This weekend I was at the BBC Radio Theatre (as a plus-one for the friend who’d managed to get the tickets) to see Neil Gaiman recording a programme that will go out on BBC Radio 4 on Christmas Day. As it turned out, he’d also brought along some friends, including Mitch Benn, Peter Capaldi, and some refugees (his words, not mine) from the Ukulele Orchestra of Great Britain. It was a good evening and lot of fun to see. It’ll also be interesting to see what makes the actual broadcast.
The previous weekend, I’d been to see Tamburlaine at the RSC in Stratford for the matinee performance on its final day. I did enjoy it, although some casting choices were a bit odd to me, particularly in the second half, where the same actress is doing two roles – one as the wife of Tamburlaine, and one as the heir of the dead king, aiming to overthrow Tamburlaine. It’s a credit to her that it was impossible to confuse the two roles as she played them, but it still made things rather more complex and odd than they needed to be.
I’ve already got several theatre visits lined up for next year, but just for now it’s on pause. Which is fine by me.
In an ongoing thread, there are times where I realise I really am a silly sod. This is another of those things.
A fair while back, the Cowboy Junkies (one of my all-time favourite bands) announced they were coming to the UK. It had been a fair while since they’d been here last, and even better, it was happening the weekend after my birthday. However, that was also the end of the week I was already booked up to spend in Northumberland, which was a Friday to Friday booking. And they were playing Manchester on the Saturday, and London on the Sunday.
So I figured what the hell, it’ll be a weekend, and booked tickets for both Manchester and London. Well I was up in the area anyway, and the London one was billed as being different to the Manchester one (although that has since changed). So why not? (Other than mileage, of course) I’d drive over from Northumberland to Manchester on the Friday, stay in a hotel overnight, do the gig on the Saturday night, and then drive home afterwards. Easy.
And then the plan changed a bit. When I saw the play Queen Margaret in Manchester, I realised how painless the journey was by train. So instead I figured I could drive home from Northumberland on the Friday – allowing me to get laundry and so on done in the evening and so on. Then on the Saturday I could get the train up, have lunch somewhere new and fancy that had grabbed my attention, then walk down to the hotel, check-in, drop off bag etc., go to the gig, stay overnight on Saturday, train home on Sunday morning, then down to London for Sunday night.
Yes, I’m an idiot, and an absolute loon. But I cut my mileage by taking the train, and improved my own safety by not driving home from Manchester late on a Saturday night. So that, at least, was sensible…
I’ve liked all the films by Martin McDonagh – “In Bruges“, “Seven Psychopaths” and “Three Billboards Outside Ebbing, Missouri” – but didn’t know until this year that he’s also been a prolific playwright.
(This, it turns out, isn’t unusual – the knowledge of McDonagh’s works seems to be pretty polarising. I haven’t yet met anyone who could blather about both sides of his work – people know either the films or the plays, but rarely both, and are surprised to learn of the other side)
Back in January, it was announced that there would be a new McDonagh play premiering at the Bridge Theatre in London, and on spec I thought I’d book tickets and give it a go. (Still knowing nothing about his plays) The play was called “A Very Very Very Dark Matter” (always a good omen) and the description for it was…
In a townhouse in Copenhagen works Hans Christian Andersen, a teller of exquisite and fantastic children’s tales beloved by millions. But the true source of his stories dwells in his attic upstairs, her existence a dark secret kept from the outside world.
As it turned out, I managed to get tickets for the second performance – previews rather than “proper” performances, but still, second ever one. Which is pretty good, by anyone’s standards.
On Saturday, that’s where I was. And it’s a strange old production for sure. I’m fully aware that I have other friends going to see it still, and I’m not tosspotty enough to spoiler it at all (which makes this a bit harder to write) but it’s a weird, dark, sweary and scabrous affair.
Jim Broadbent plays Hans Christian Andersen as a fairly unpleasant human being – utterly self-centred, but also a quite spectacular idiot – who is taking advantage of the source of his stories. He also goes to visit Charles
Darwin Dickens (a regularly repeated joke through the play) who is played by Phil Daniels as an exceptionally sweary (and very funny) Cockney – and who may also be housing a similar source for his stories.
Along the way there’s violence, creepy attics and puppets (and arachnophobes should be aware that one of them is a big spider), time travel, writers, lots of swearies, and general weirdness. In short, it’s a Martin McDonagh script.
All told, I did enjoy the play – although I did feel that it could’ve been better, and made more of the subject matter it had – but I don’t honestly know that I’d want to see it again…
The weekend just past is the one where I was supposed to be doing that walked Night Marathon in London. I failed to complete it last year (as I’ve written about elsewhere) and this year didn’t start it – primarily because I just hadn’t been able to get in the practice and preparation that would’ve made it easily doable, so I’d made the decision to not take it on at the last minute.
So it should’ve been this weekend that I did it, and as it turns out, I’m actually quite glad I made that decision. First and foremost, the weather was vile, and doing it while being cold and wet really doesn’t appeal.
Additionally, I’ve picked up a vicious cold (I really should stop having quiet days – they totally kill me) and been feeling rougher than a badger’s backside. To top it off, this week also involved a couple of foodie events (although I’d have rethought at least one of those if I’d still been doing the walk)
All told, I’m still (mostly) happy with the choice to not do the walk this year. I’m annoyed with myself for having let the time slip past, and for not doing the training and preparation I could have done. But there we go, I didn’t do them, and while I probably could have just rocked up and completed it, I wanted to be better prepared this time.
I’m signed up to do next year’s one though, so we’ll see how we go from here to there. And if I don’t do that one either, then I’ll most likely sack off trying again.
Last week, Claude Bosi (one of the chefs I follow on Twitter) announced that one of his good friends, Bo Bech of Copenhagen’s Geist would be cooking at Bosi’s restaurant at Bibendum in Michelin House in London for one night only, in support of Bech’s new book, published that day. And I was lucky/early enough to get myself a table.
The event was last night, and it was epic.
Me being me, I turned up a bit early – I’m always happy to sit at the bar or whatever – which meant I also got to go into the kitchen, meet Chef Bech and his crew, and have a quick chat. Pretty impressive in and of itself!
As part of the price of the meal, all diners also got a signed copy of the new book “In My Blood” (which is beautiful, and brilliant) which added to the event as well.
And the food itself was spectacular. Things that just shouldn’t go together (Duck, Pumpkin and Coffee? Shouldn’t work. Does.)
All told, it was one of the best meals I’ve had – and that potato mash with caviar is definitely the most decadent course! – and it was just spectacular.
So now I need to organise a city break to Copenhagen and go to the place itself. And there’s a couple of other restaurants there I want to try as well. That could be a very expensive weekend…