I’ve been a fan of Blessed since his turn on Flash Gordon – which is now a very long time ago – which also gave him his most recognised phrase (and with which he opened the show) of “Gordon is Alive!”
The entire show was kind of ramshackle and rambling, certainly nothing like the far slicker comedians and musicians that the audience was obviously more used to. I saw a few people with expressions of “What the fuck?!?” as it went on, because the were very few coherent stories, it appeared to be all more of a shotgun approach, as and when he remembered stuff. (Without seeing the show again I have no way of knowing whether it’s intentionally shambolic, or that it’s just the way Blessed is)
For me though, I’d pretty much expected that, and it didn’t disappoint or disconcert me at all.
I thought the entire thing was a lot of fun (and also very loud, and sometimes sweary – also things I’m OK with) and would happily go and see it/him again.
I think the final note to leave on, though, is this notice on the doors.
On Tuesday, as I mentioned before, I went down to London to see Othello at Shakespeare’s Globe. I’d not seen any previous productions of it, and it seemed like a good plan – particularly as it was only £5 for a standing ticket.
All told, it was OK. Standing at the Globe is OK, although the concrete floor is a lot less forgiving than the original’s mud, straw and whatever. I get that that’s less sustainable in modern London, but yeah, a bit tough when standing for near-as-dammit three hours, once you include arriving before it starts, interval, and leaving.
The play itself was good, and I had a decent view of the stage, albeit from the side. Going in with a pretty blank and basic idea of the play, it fulfilled most of that, and was easy enough to follow. I had always had the idea that Iago was a lot more panto-villain with hand-twisting moustachioed evil – although I suspect that’s just how it’s been built up over the years, as a lot of the irony of calling him “honest Iago” wouldn’t work if he were being blatantly manipulative and machiavellian – so it was interesting (and a bit jarring for me) to see the way it’s played by Mark Rylance as a much quieter role, more of a jealous little man, overlooked by those in power, assumed to be a nobody who couldn’t possibly come up with such intrigues.
But I enjoyed it (although I feel the ending is another of Shakespeare’s more melodramatic dollops) and came out feeling I’d got what I came for.
Then, because I’m an idiot, I’d also booked to see Brian Friel’s “The Aristocrats” in the evening, at the Donmar Warehouse. Which also conveniently meant I could go and have a quick dinner at one of my favourite places in that area, Chick’n’Sours (Fried chicken and sour cocktails – my kind of place)
So that’s what happened – a walk back from the Globe to Seven Dials, food, and then with plenty of time to kill I sat outside an empty building on Earlham Street, right by Donmar Warehouse, and just relaxed for an hour – which was lovely. It’s a really quiet street – surprising for being in the Covent Garden area – with enough people going past to be interesting, but not chaotic.
And then Aristocrats. Which, in my opinion, was sadly an absolute bag of bollocks. Apparently it’s Chekhov-esque, which apparently means “sod-all happens”. I’d seen generally positive reviews of it, but couldn’t find much to be impressed by in it, myself. It was good to have seen it, and understand a bit more about the kind of plays I don’t like – which is always a useful reference point, so long as you haven’t spent an absolute shed-load of money to find out you hate it – but it’s definitely not one I’d bother with again.
Mind you, I was in a seat in the second row of the stalls, right by the stage, and it cost me £30. So it could’ve been an awful lot worse than it was.
All told it was a good day, and not massively expensive. What more could one ask for, really?
Every so often, I realise that I truly am an idiot. Usually only when it’s too late to do anything about it, but still – at least I recognise that I’m an idiot. And yes, I know, it’s nothing new or newsworthy
In the latest example, it all started easily enough – I saw that Shakespeare’s Globe is doing a production of Othello (which I’ve never seen) that had tickets available for a matinee performance. Cheap too, as they’re for standing audience places. And that’s all well and good.
Even that’s not too bad – it’ll be a long old day, but hey ho.
It was only when I looked at the calendar on my phone that I realised (again) that I’m an idiot – because in that same week, I’m also already booked in for a one-off cinema showing on the Monday, then the theatre stuff on the Tuesday, then out on Wednesday, and back at the cinema for another one-off screening on the Thursday.
And this is all while I’m still supposed to be doing less.
So yeah, I’m an idiot. A busy idiot, but still an idiot…
As I said earlier in the week, over the last two weekends I’ve ended up seeing two versions of Macbeth, one at the RSC in Stratford-on-Avon starring Christopher Eccleston, and one at the National Theatre in London, with Rory Kinnear and Anne-Marie Duff .
It’s a weird piece of scheduling – for whatever reason, I’d have expected the two main theatre companies to at least communicate a bit, in order for this kind of clash to not happen. However, everyone else I’ve said that to has said “No, they don’t talk”, but all the same it seems pretty odd to me – not least because as well as those two, there’s also the Verdi operatic version also being performed at the same time at the Royal Opera House !
Anyway, for my purposes, it made it interesting to be able to compare the two performances in such proximity.
For me, the RSC version was the one I preferred, although both had flaws. In the RSCs version, parts of the stage set weren’t visible from our seats – seats that hadn’t been marked as ‘restricted view’ – which was annoying. It’s a modern-dress setup, which is fine with me, but sticks with a more traditional timescale all the same. The witches were played by a trio of young (9-10 years old) who all spoke in sync, and were extremely good at being creepy. The porter in this one was very good, quite creepy, always on stage, and marking off all the deaths in chalk on the wall. I hadn’t noticed that initially, but it was very effectively done in later scenes where news of Macbeth’s rule, and the deaths involved – seeing them all getting marked on the walls was a very effective way of putting the point across. We weren’t just seeing the on-stage deaths, this despot was killing all and sundry, feeling invincible while doing it.
We were very early in the run, so there were some hitches with lines not being perfect – but I am seeing it again with different friends later in the run, so it’ll be interesting to see what’s changed – but all told I thought it was a pretty good performance, and really good to see Christopher Ecclestone doing his thing.
The NT version was much more modern, supposedly staged ‘after a revolution’, on a blackened stage. It is very dark in general, but also emphatically trying too hard (in my opinion, of course!) and in particular I felt the witches were less effective as a result. Rory Kinnear was good as Macbeth, as was Anne-Marie Duff as Lady Macbeth, but most of the rest of the cast faded in the memory very quickly. There’s one particular scene with the witches that is very effectively creepy, but the rest is just… meh. I wasn’t overly taken with the production – and it manages to miss the ‘double double toil and trouble’ speech completely – but I’m still glad I went to see it, and to compare two quite different interpretations of the same play.
On Saturday, I went to my first opera – a production of Aida at the London Coliseum by English National Opera. As with going to plays and so on, I went in with very little knowledge of Aida or what to expect.
I did enjoy it – although it’s not necessarily something I’d plan to go to on a regular basis, or to see this particular opera again. I don’t yet know – but as with other things, I’m not going to base any judgements or expectations on a sample of one, so I’ll definitely be going to at least one more production.
*Personally*, I found that the first half dragged, but the second half was better. The staging throughout was really interesting though, which did help things.
The plot/story is hideously melodramatic (in my opinion) and would’ve been rejected from most soap operas as being too ridiculous. So yeah, the odds are I won’t bother with Aida again, but there’s plenty of others I can try instead.
All good fun, though…
While looking at historical August posts on D4D while writing a couple this morning, I came across this one.
So it’s just two years ago – almost to the day – that I saw my first Shakespeare play in a good decade or two, which was Hamlet, with Benedict Cumberbatch in the main role, at the Barbican.
Since then I’ve seen (in no particular order)
- King Lear – twice (Don Warrington, and Glenda Jackson)
- Hamlet (Andrew
- Midsummer Night’s Dream at the Globe
- Romeo and Juliet at the Garrick
- Macbeth (open-air production near my parent’s place)
- Tempest (Simon Russell Beale) at the RSC Stratford-upon-Avon
- something else that I can’t currently recall.
I’ve also got Coriolanus in Stratford-upon-Avon next month, and Lear (again) in Chichester in October.
There’ve been a number of other plays along the way as well, and it’s all been pretty damn good. I’m just surprised I’ve wedged as much as I have into two years…
Following on from a friend of mine seeing it, I decided to have a look and see if there were any tickets still available for “The Resistible Rise of Arturo UI” at the Donmar Warehouse on the date I was available in London with no solid plans. (Last Saturday) As it turned out, there was – just one ticket apparently “near the back”. That’s OK, I’m tall, so yep, ticket successfully obtained.
As usual with my theatre trips, I knew absolutely sod-all about the play. Indeed, I’d never even heard of it before the previous weekend. That doesn’t bother me anyway, and armed with a decent review from someone whose opinion I tend to trust, I was willing to go for it. All I knew was the name, and that it was by Bertolt Brecht.
And I’m really glad I did. The original play is an allegory based around the rise of Hitler in Germany, but using the gangsters of 1920s/1930s America to tell the story. It’s been updated a bit – there were lots of references to Trump and his collaborators, along with an (odd but effective) sung intro to each major scene, using modern(ish) songs.
It’s very hard to not see the parallels between Nazi Germany and Trump’s rise, so it all felt very relevant. But still interesting in a lot of ways.
The entire of the Donmar Warehouse has been changed for this production, and it’s been made into a 20s/30s speakeasy. As you walk in, the actors are already on ‘stage’ talking, dancing and the like. It certainly made things more interesting, having Lenny Henry come round in character as the club owner, talking to – and shaking the hands of – all the guests, as well as other cast members doing the rounds.
As an aside, one thing that was great was that a lot of the audience around me were a group of visually-impaired people, coming to the theatre for a play that would also be audio-described for them by a company called TalkingSense – and as it turned out, I got talking to one of the narrators, who was sat next to me for the first half, before going to narrate the second half. I thought it was brilliant to open up theatre in this way (and I also liked that Arturo Ui managed to use one of the visually-impaired people as his ‘witness’ for one section)
Ah yes, the audience participation. This was something really interesting, and not something I’d expected at all – this version of the play makes great use of the audience. In the photo above you can see a gallery with people on it – in the second half, these become the jury for a court case, with the judge sat in the middle. Another audience member became the railroaded ‘accused’, and by the end of the play everyone is involved, either standing in support of Ui’s bid to be the main gangster (sorry, “protector”) or sitting – in which case their votes don’t count.
Note – I’m not giving away anything major here – and the production ends tomorrow!
Lenny Henry is particularly impressive as the titular gangster, developing through the production. But he’s also well supported by a generally excellent cast – all of whom also seem to be enjoying taking part in the play. (Which isn’t always the case)
All told, it’s a very dark vision of life – yet also extremely funny. I laughed a lot more than I would have ever expected to, in a play based on the rise of Nazi-ism. If the run were longer, I’d probably enjoy going to see it again. It’s quite a thing.