Little Storping-in-the-Swuff: Theatre

I’m not that keen on dance. Usually I’ll run a mile at the merest whiff of a dance receital. Actually, I don’t go to the opera that much either. But look at this, from David McVicar’s Glyndebourne production of Handel’s Giulio Cesare:

I know it’s wrong (surely you aren’t meant to be able to swing your hips to Handel), but how can something so good not be right? So George Frideric may not have realised he was writing a cabaret, but that doesn’t mean he wasn’t.

And this isn’t even the best bit (Cleo’s opening scene when she kicks Ptolemy’s butt is great). Though Danielle de Niese (Cleopatra) may not be the best singer in this rather spiffy production (only because the competition is fierce), but she’s an amazing performer.

It’s a bit like parsnips in soup. Dance in opera can not only be palatable, but rather tasty.

Time again for outdoor Shakespeare at Lewes Castle. Yes, it’s raining. A lot. Our dress rehearsal was just cancelled. Fortunately the forecast is looking up.

Here’s The Argus‘ preview. And a quick Google shows our Don Pedro is plugging it on gay social networking site Outeverywhere.com!

As ever, I’m sound and lights. It’s a fairly modern soundtrack. If you do make it, see if you can spot the inspiration of Who finale Last of the Time Lords.

More political theatre tonight!

The play was highly entertaining. Beckett’s tramps become backbench Labour MPs, to whom Beckett is Secretary of State (for Gloom). They wait for Gordo, voting on Tonzzo’s increasingly absurd criminal justice bills.

Yesterday morning, whilst listening to the Today programme, I heard a feature on the production “Waiting for Gordo” to which listeners had contributed. “Funny”, I though, “that sounds exactly like Matthew”, a friend who appeared in Two Gentlemen of Verona when it went on to Cornwall. I hadn’t realised that the play was on at The Little.

I found myself sitting next to the playwright, Richard Heller (interviewed for Today last week). He was somewhat disturbed to find the political contributions he had received from radio listeners was more or less equally matched by the existential despair.

Sadly, although the play was mentioned in the Telegraph, The Independent and Newsnight as well as Today the audience was in the low 20s. Still, it was very well received, especially the speeches delivered by Lackey (a superb performance by Two Gentlemen’s Speed, Adam Macrae) culled (and reedited) from the words of the real-life Tonzzo and Gordo.

To London’s Old Vic, yesterday, to see the incredibly talented Kevin Spacey in Richard II.

I didn’t get up yesterday planning to see this, but a colleague taking a group of students had a spare ticket. There was some drama on the train up when a drunk engaged with some of the students (it’s never dull with the performing arts department) but my colleague diffused the situation with impressive ease.

The production itself was excellent. I saw the Mark Rylance production when it was shown live on BBC4 and thought it wonderful. Last night’s production used huge plasma screens to display newsreel footage of the action on stage with a wonderfully simple set that featured a debating chamber oak panelled waiting rooms remniscent of the houses of parliament in a simply furnished, large, modern-looking space. The combination of this superb design with equally first rate lighting conveyed the sense of New Labour slickness contrasting with the trappings of an ancient consitutional system (“traditional values in a modern setting”). This clever exploration of the distance between the image of a monarch and the failings of a man all too aware of that image seemed particularly appropriate in the week of the Labour party conference. The only critisicm I had was of Act 5 Scene II, which felt a little like an episode of a sitcom “Life with the Yorks”. Kevin Spacey was captivating as the slight but powerful King, as was Ben Miles as collected, vengeful Bolingbroke.

The students even stayed awake thoughout.

To the theatre with friends, tonight, to see Stoppard’s The Real Thing. Interesting musings on knowledge and fidelity, but not his funniest play, although it had its moments, and Tom Conti is entertaining.

There are plays within the play, and Stoppard sometimes chooses to make us guess whether a scene is supposed to be real. My friends managed, through the interval and after the show, to demonstrate the similarity between their relationship and those on stage nicely to blur for me the distinction between fiction and reality. Walking home, their performance allowed me to forget I had left the theatre.

Yes, I’m doing the lighting, last night was the first night and it went well. Here are a few photos of

The gents:

A lady (!)

The tuba player (!!)

And an outlaw:

More photos here.
Book tickets here – it’s a good show!