I’m going to go a little smug with this one because it’s rare that I manage to write about things in such a timely fashion that anyone might actually be able to see it after I’ve written about it. BUT this play is on for another week and I see there are a few tickets left for later this week so please, if you get a chance, do go.
I love the Donmar Warehouse as it’s such a beautiful, intimate little venue and I’m lucky enough to have received membership as a birthday present from friends this year, so I see most of their productions. When my friends R and J started talking about this Ibsen play, I was envisaging something set in the frozen wastelands of Norway. But actually the setting of this production has been transferred to a Caribbean island and it’s absolutely beautiful with a rocky pool on the stage itself which is used to good theatrical effect.
It’s a quick production; 1hr45min straight through with no interval. Regular readers will know that generally that’s the kind of thing I like and it is, but on this occasion I would actually have liked it to be just a tad longer to flesh out the characters more; while Dr Wangel and his wife Ellida (‘The Lady from the Sea’) were well drawn, the doctor’s two daughters, particularly Bollette, could have done with a little more development. She had a lot of promise but it wasn’t entirely there for me. However, all the cast were simply superb.
Overall: beautiful modernised production of Ibsen on a stunning set in a great little theatre; well worth a couple of hours of your time.
V&A exhibitions are usually on a fairly large scale, but the opera exhibition surpasses even their usual standards. A little sign at the entrance suggests you allow 70 minutes for your visit; myself and my friends K and S were actually in there for nearly 2 hours reading the plaques, watching the clips and, of course, listening to the music.
The exhibition is beautifully laid out, taking you through 7 European cities and 7 opera premieres that took place in each, with associated music that plays through the headset that you’re given on entering as you walk through each area. Some are well known operas (relatively speaking; I think most people have some familiarity with ‘The Marriage of Figaro’) and some are much less well known (I hadn’t even heard of ‘Rinaldo’, although I am now desperate to see it when Glyndebourne stage it in 2019). There’s plentiful reference to the changing times as reflected in opera, for example sexuality and eroticism in ‘Salome’, and the banning of ‘Lady Macbeth of Mtsensk’ by Stalin as he felt it wasn’t appropriate behaviour for Soviet women to see.
Overall: a huge and beautiful exhibition which is a real feast for the senses.
Regular readers will know there are certain things that can guarantee I will be enthusiastic about a play- I’ll see anything with Tamsin Greig in it for example. Another thing I’m always enthusiastic about is Agatha Christie -I started borrowing her mystery books from my school library aged 11 and shot through them all in a matter of months. Since then I’ve seen pretty much any film/TV/stage adaptation that’s come along and I’ve seen ‘The Mousetrap’ twice, though not for many years (in fact perhaps a repeat visit is in order!) so I was keen to see this new production, and the fact that it was set inside London’s County Hall was a real bonus.
I know the story well (I’ve read it and seen the TV adaptation in the past) so it wouldn’t be fair to comment on the twist since I knew what was coming, but as always with Christie, you’ll get a clever mystery with an outcome you don’t anticipate. I LOVED the setting, with a real magistrates’ bench for the judge to sit at (and the jury get sworn in on the left hand side bench just before the play starts -keep a look out for it!) and the layout feels like you really are part of the performance, especially in the courtroom scenes when you feel like you could be in the spectators’ gallery.
Overall: great fun in a unique and beautiful setting. Go go go.
No, not another sneaky post about our Scandinavia holiday, but the title of the play which has had a lot of buzz around it -not surprisingly with the challenging topic of little-known Norwegian diplomats arranging peace talks between the Israelis and the PLO.
It certainly is fascinating, but my advice is to do your homework (if you don’t know much about the background you will be pretty lost) and you do need to concentrate- miss a bit of dialogue and you’ll spend the next half hour whispering to your companion trying to catch up (in my case frantically asking my friend R ‘so was that an Israeli..?’) However, it is well worth a watch and there are some lovely touches of humour included within the serious stuff (the enthusiasm for the Norwegian cook’s waffles was great!)
Overall: not easy watching, not lighthearted, but a proper good stimulating evening’s theatre.
Japan had been on my wish list for the longest longest time. But I kept putting it off because ‘it’s so expensive’!! Only to realise that no matter what, it won’t get any cheaper… so we should probably just get on with it. It was booked in February, which is the furthest in advance I have EVER booked a holiday, but on the plus side gave me loads of time to plan and get excited!!Read More »
Apparently this was a popular film starring Ewan McGregor, which I had no idea about until my friends K and C with whom I saw this musical told me about it. I’m not a film buff at all, but I love musicals, I love The Other Palace (a beautiful comfortable little modern oasis of a theatre in the chaos of Victoria) and I love Kelsey Grammer – so there were plenty of reasons for me to see this musical.
It was absolutely lovely. While in some ways I wished it was in a proper West End theatre with a big stage and huge jazzy sets, there’s no denying that the intimacy of the theatre made a big difference to the production, particularly in the emotional bits (of which they were many). The relationship between Edward Bloom (played by Grammer) and his son Will was beautifully portrayed – who hasn’t had a major love-hate relationship with their parents?! And wow, can Grammer (and indeed all of them) really sing…
Overall: a perfect example of a whimsical, emotional musical
Trafalgar Studios often put on interesting plays but yet again the draw for me here was the (fairly) big name of Stockard Channing. As a huge musicals fan she will always be ‘Rizzo’ to me. So I couldn’t pass up the opportunity to see her live on stage.
Unusually though, I must say that in the end she impressed me less than the play itself. A ‘family drama’ focusing on a mother, her 2 sons, their partners and the erstwhile relationships between them all, it handled some difficult emotions with sensitivity, humour and grace. I felt the ending was a little unresolved – but that seems to be the trend in modern theatre these days sadly.
Overall: in the nicest possible way, Stockard Channing is the very least of reasons to see this interesting play.