Kerouac - you mentioned 'ticket brokers' in the West End. Could you explain a bit more for me please. I'm sure you don't mean 'ticket touts' which pull tickets out of their Dick Tracy coat pockets.....
There are now dozens of "discount ticket agencies" in the Leicester Square area. In fact, that is practically the only commerce that exists on Cranbourn Street between the Leicester Square tube station and Leicester Square itself. There is also still the official "TKTS" outlet on the far side of the square.
I understand that it's best to head straight for the TKTS booth and ignore the "agencies" enroute.
For my London trip so far, I have tickets for Jeeves & Wooster: Perfect Nonsense in the West End (just myself, a matinee while H's in class), La Fille du Regiment at ROH, and The Knight of the Burning Pestle at the Globe's recently opened indoor Sam Wanamaker Playhouse. There are some Spanish Golden Age plays (in English) at the Arcola Theatre I wouldn't mind seeing, like Punishment Without Revenge, and I'd also go back for One Man Two Govnors on Haymarket because we liked it so much last year.
H's roommate for this London semester is a theater major, and they've been to several West End plays so far, plus one at the Arcola. I'll wait and see what else I/we might fit in.
I'd love to see some opera when we're in Sevilla, but can't find anything. Since booking our flights there, I sometimes find myself humming:
Kerouac, I forget whether Mojo was sold out or just no more affordable tickets by the time they got down there. The four girls made a compromise midcourse correction and saw Mousetrap instead as a safe alternative that I imagine they liked well enough. Maybe the Anti-Mojo, edginess-wise.
This is the message for World Theatre Day, 2014, by South African theatre artist Brett Bailey. It's (of course) a message about hope and survival and diversity. I find it most interesting that, as theatre has lost its place as a cultural influence in Western society over the last 100 years, it has retained its function as a powerful voice for change in the so-called third world. So, as I labour away in an increasingly marginalised art, I still have hope that it reaches people.
Wherever and whenever I travel I try to see some indigenous, local theatre. It informs me about the character of a place as much as the architecture, fashion and food.
Being lucky enough to live in a city where theatre continues to thrive (albeit with the help of certain subsidies in many cases), it is difficult for me to perceive the decline of theatre in other places. Paris, for example, has twice as many theatres as NYC or London but most certainly not in terms of size -- many of them have 40 or 50 seats at best.
I truly regret my own decline in theatre going, which I try to compensate every year in Avignon by seeing 20 performances in 5 days. Nevertheless, I do have a performance lined up in about 10 days when I will go to see some sort of circus (?) style performance called La Meute.
Well, I'm on a theatre binge right now, seeing four shows in four days. I don't usually see theatre like that unless there's a festival going on, but I've gone through a dry spell lately. I've seen:
* a post-colonial deconstruction of Macbeth featuring a choral sing-along of Jerusalem and taxidermied animals talking around a campfire * an exploration of embarrassing personal secrets and confessions * a show called Chelsea Hotel, featuring the music of Leonard Cohen * and tomorrow I'm seeing a musical called Floyd Collins, about a man trapped in a mine
Monday I start rehearsals for Shaw's Mrs. Warren's Profession.
I did a little theatre in college and I thought the rehearsals and performances were a rollicking good time and I didn't want them to end. A lot of my fellow cast members didn't feel the same. Could've been due to the fact that they had spouses, responsibilities, and about 100 times more dialogue.
I admire the talents of anyone who can take a script and transform it into a performance that takes an audience to another place and time. I know there is a tremendous amount of work involved in the preparation, but I assume there also has to be a strong inner desire and innate talent to do a job well. One of my young family members auditioned for a NYC company this week and is waiting to hear if he made the cut.
Oh, how exciting for your family member, htmb. Please let me know. (Of course, I have to say that, being a male, his chances are certainly better than if he was a girl - law of supply and demand). Please let me know.
Kerouac, it sounds like something I'd love. What festival is it?
These people from Montreal are in town right now, but I don't think I can go. Tant pis!
I saw Patrick Stewart and Ian McKellan, two of my favorite actors, perform two plays in repertory, Harold Pinter's No Man's Land and Samuel Beckett's Waiting for Godot. They were amazing, they had such energy and sparkling chemistry. They were especially funny and touching in Godot.
Oh, how exciting for your family member, htmb. Please let me know. (Of course, I have to say that, being a male, his chances are certainly better than if he was a girl - law of supply and demand). Please let me know
Thank you, Lizzy. I'm pleased to say he was accepted!
Kerouac, it sounds like something I'd love. What festival is it?
It's the "Festival Hautes Tensions"
Anyway, I saw "La Meute" last night, which was excellent. It was a group of acrobats/musicians dressed in bath towels. Besides wondering if they are going to break their necks, you also wonder if the towels are going to fall off, although you figure that they are wearing some sort of protective item underneath just in case. But to clear that point up at the end, they do the full monty to show how much at risk they really were.
We went to a performance at the Globe's new Sam Wannamaker Theatre, a smaller, covered, indoor candle-lit Globe just adjacent to the big outdoor one on the Thames in London, last month. Knight of the Burning Pestle, a riot. Play with a play within a play, first performed in 1607. We sat up near the musicians' gallery. Anything they do is first-rate, I'd say, plays of that general vintage.
It felt more like a romp than a chestnut, to us; neither had been familiar with it. The combination of early instrument music, costumes and tomfoolery was a lot of fun.
They light the chandeliers, then pull them up (and down and up in this play) with ropes, and there are candle sconces along the walls.
I went to a West End matinee performance of Jeeves & Wooster: Perfect Nonsense at the Duke of York, also nicely done, with Matthew Macfaydan and Stephen Magnan respectively and both really good. A third actor plays a butler; he and Macfaydan make fast costume changes to populate a stately home full of silly characters.
A dear friend of mine is active in a recent production of a Chekhov play based on Chekhov's letters to his lover over a period of many years. An ambitious project to be sure, I saw a preview this weekend at Tulane University. They are taking the production to Moscow and St. Petersburg next month if politics do not interfere.