I should have written about this before now as I saw it some weeks back. But then again I was so overwhelmed by it when I saw it, I don’t think I could have focused my written thoughts on it. Tony Kushner’s Caroline Or Change is somewhere between a musical and an opera. It is composed-through and that in itself is an astonishing
Category: Theatre (page 1 of 3)
Interestingly (well I think so) I have been working on two plays that have both had intense parts for two actors mostly on stage together alone for the whole time. Beginning by David Eldridge was a 1hr 45 minute real-time conversation (no interval) between a woman who had just held a flat-warming party and a man who was the last guest to leave. Mindgame by Anthony Horowitz, a dizzying
Just realised I never wrote this post.
It was one of the happiest times of my life.
Right – got that out of the way.
It has to be to its upmost credit that the production at the Donmar Warehouse held my attention for three hours as I was very, very tired. I think a lot of that has to do with the intimacy of the venue where you can pretty much touch the actors, or feel as if you can even in the Circle, and a superb cast. Take the first scene. I happily watched it but only got hold of a little bit of plot exposition and character relations plus a few witticisms, whilst remaining lost on about 80% of the conversation between the two friends talking in a coffee house.
I better add here that
Despite having a keen interest in this play with its North Yorkshire setting (I grew up not far from York), I have never seen or read it. My expectations were high as the reviews had been glowing, and I had taken part in one of the Donmar’s Open Workshops on it the morning of the day I had seen it
– and a big plug here for the Workshop which was excellent and a huge thank you to Lynette Linton for running it with such infectious enthusiasm –
but I have to say ultimately I was left slightly disappointed, without quite
(Probably best to skip/skim read the second paragraph)
My favourite film, in the sense that it is the film closest to my heart and affects me on a personal level like no other, is Ingmar Bergman’s Fanny and Alexander.
Scandinavian 19th century drama has fascinated me since I studied Drama at university, and my love of it led me into the theatre and film world of Bergman. In my twenties I had a tendency
I really need a job from March 26th. I’m clean and tidy, can use a knife and fork and tie my own shoelaces.
All offers and suggestions gratefully received.
Anything involving writing and/or the theatre would make me too happy for words.
I know I could set the cat amongst the pigeons with the above photo having added lettuce and lemon, but I could not find a photo I could use with just the fingers and bread. I could have gone out and bought the ingredients for a photo shoot in my kitchen….but it’s cold outside. (Shame on me for not having any already in the freezer and this being north-east London I only have wholegrain bread)
I’m still riding high on my new job which is working backstage on
Three days of observing and then thrown in at the deep end for the Dress rehearsal on Saturday. Made mistakes but kept calm and quiet, so no problems. I suspect everyone thinks I know a lot more than I do but I am going to take the opportunity to learn as much as I can.
The play is wonderful. I cried through two run-throughs. (I then got home and burst into tears at the end of the TV Little Women adaptation – I’m very emotional at the moment). It’s about loneliness and connecting, and the actors are so good it’s not like watching actors – just people. The characters are unusual in the sense you rarely see the thoughts and feelings they convey here, but they are so ordinary there must be thousands of (real) people like them. I both identify strongly (painfully!) with them but the play has also made me question my own assumptions. I think it will get richer every time I see it. And it seems a great company of people. Everyone is really friendly and it feels like there’s no hierarchy (which strictly there isn’t in the theatre).
First preview tonight and my second time doing my job.
(I wish the photo above was my own – sadly not)
One million years ago I came down to London from my home town in Yorkshire and began to work in the theatres of London’s West End, working a followspot (the moving spotlight you see on actors). My first job was at the Victoria Palace on High Society, Richard Eyre’s mixing of The Philadelphia Story (play/film) and High Society (film).
Later I got a job on the London production of Sondheim’s Follies at the Shaftsbury Theatre with Diana Rigg, Daniel Massey, David Healy and Julia Mckenzie. The first time I saw it, when the music started (“Hey up there”) and the ghosts of the Weismann Girls appeared,