Northanger Dulwich

 A day after the visit to the Orange Theatre, we went to Dulwich Picture Gallery, to watch an evening performance in the grounds.

Northanger Abbey, or a version of it at least, was performed by the Moving Parts Theatre Company.  A small cast of seven, and a simple boxy stage setting did brilliantly - they conveyed the story well, and were very funny.  

They also reached out, in the script, to other material - not just the gothic novels Austen was satirising and supporting, but also Regency guides to manners, and what was expected of young women.  

It worked well.  The cast also helped the audience to the seats, and ensured they were comfy - gave out the QR codes for the programme (!) and generally chatted.  Many of the actors also wrote or produced the piece - it is a small company.

Anyway, we enjoyed it very much indeed - and it was something of a relief after Black Comedy to have such a joyful experience.

Slot Cars

 An advert recently sent out by Rails of Sheffield...

Iceberg

 

Burnham Bounce or Farage Failure?

 Whether it is because of the recent reports of Farage's cooked dealings and undeclared donations, or the farce he has created in the Clacton byelection (where, as many have said, he is fighting a bin, and seems worried), or whether Andy Burmham has managed to connect in a real way during his first few days as PM, it does seem that the latest opinion polls show Reform's support going into reverse.  And Labour's increasing.

For more on this, see the Guardian from a few days ago.

Black Comedy

 And so to the Orange Tree Theatre in Richmond, to see Peter Shaffer's Black Comedy.

We were quite keen to see this.  It is an early Shaffer, a farcical comedy with a clever conceit. 

When the light is on in the flat where all the action takes place, the auditorium is plunged into darkness.  But when the lights in the flat fail, the stage is lit, and the audience can see the characters difficulties, fumbling in the dark.

It could have been very good.  But, sadly, the production proceeded at a continuous loud bellow.  There were no moments of quiet, or calm to accentuate the comedy.  Instead, it was just loud and raucous through pretty much the whole 80-90 minutes.

Disappointing.

Although admittedly, the Guardian liked it.

Urinal

We forgot to post about one of the more enjoyable things we have seen this year - Churchill's Urinal at the King's Head theatre in Islington.

It starred comedian Rosie Holt, whom we remember from her clever and funny short videos during the pandemic,  playing a put upon Tory MP trying to justify the behaviour of Boris Johnson's inept government. 

In this new show, she plays the first female Chancellor of the Exchequer (not Rachel Reeves), who discovers that the bathroom at no 11 downing street contains an ancient urinal installed for Chruchill.

She is desperate to get rid of it, but it is listed.  What to do?

Full of wit and physical comedy, with a lot of audience reaction, we laughed enormously. Holt was ably supported by Michael Lambourne (playing the urinal - which, yes, talks).

If it comes on again, we highly recommend it.  The script is tight, funny and viciously political (apparently the comedian Stewart Lee assisted with it), and the production well organised and structured.

Our small only reservation was the theatre itself - which is no longer in the back of a pub, but in a new, purpose-built building, and three floors underground.  Not for those with claustrophobia!

Authentic

 A couple of months ago, we also went to see The Authenticator at the National Theatre (Dorfman stage).

This had echoes of some of the themes of Arcadia - such as: How can you discover the truth abou the past, and indeed what does that mean?  How are History and the personal intertwined? And what uses do we make of what we discover?

But it was a very different play as well, focusing on black history, and slavery and the legacies of colonialism.  A tight three-hander, with Sylvestre le Touzel, Rakie Ayla and Cherrelle Skeete.

This was very good, and much supported by a clever production and surprising, adaptable set.