Moving to London brings many good things: being close to certain loved ones, having so much history around, the proximity to exciting countries.
The West End.
Ok, so I wasn't fooling anyone. The West End is a *huge* drawing card to London. Aside from New York, it is the place I would want to be in the world theatre wise. However, in saying that, the last 3 and a bit months haven't contained enough theatre to satisfy my cravings. This is mostly because London is expensive.
I have, however, managed to see a few really good shows, so I thought I'd give a run down of what I've seen so far. If you want a more indepth / reviewy look at the shows, then a lot of them are (or will shortly be) on my
other, more theatre oriented, site.
Talent - Menier Chocolate Factory
The first show I saw in London. Was more excited about the fact that I was seeing a show in London than I was about the show itself. I knew nothing about it, aside from the director's name, and had no preconceptions about London theatre. I was jetlagged and it was an ample introduction to London theatre.
That is, it set the bar pretty low for what I was to see later.
The show itself wasn't bad, just incredibly low budget. I kind of expected anything produced West End style (or off West End as the Chocolate Factory is) to be big and glitzy. I was surprised that a venue like the Chocolate Factory be so critically acclaimed, with many productions going on to full West End and Broadway runs.
Hairspray - Shaftesbury Theatre
Next show I managed to afford tickets to was Hairspray. On a whim, I decided that theatre was in order, as celebration for the recent employment acquisition. Hairspray has been a show that I've kind of liked for a while. It's never been a favourite, apart from the brief period in my final year of uni when it got me an HD* (yes, I wrote a paper on Hairspray. That's how useful my degree is).
If Hairspray was gold, Talent would be tin. The difference was ridiculous. The overall talent and production values on Hairspray were what I would expect from Broadway. At this moment, I realised that I was seeing a *West End* show. The difference in ticket price was that Hairspray was £10 cheaper, which didn't make sense.
The only thing that I didn't like about Hairspray was Belinda Carlisle. The vocal talent she has is in direct contrast to the acting ability she possesses. It was the best example of 'just because you've topped the charts, doesn't mean you should be allowed to act' I have ever seen.
And I've seen
Glitter.
*for the Brits, an HD is High Distinction. In fact, the paper secured me first in the unit [/pompous gloating].
The Nutcracker - Royal Opera House
For a treat, Em treated me to a night at the ballet around Christmas time. I have never been a big fan of ballet (aside from my
indulgence in bad cinema), but The Nutcracker was something I genuinely wanted to see. Em was more excited than a 5 year old in their first tutu. I didn't know what to expect.
What resulted was some of the best theatre I've ever seen. I was captivated from start to finish and my bottom didn't fall asleep once. It was a strange feeling, especially considering I knew nothing about ballet (aside from what the aforementioned movie taught me), but I felt like I was being injected with culture AND enjoying myself!
Random Drag Show - Cellar Door
Cellar Door is a cool venue. It's a converted public toilet.
Sounds appealing doesn't it?
I decided on Cellar Door as the venue to take some friends from Sydney out on the town on a Monday night. I believe Cellar Door was my first mistake.
I believe Monday night was my second.
What ensued was hours of drinking cheap wine and watching a drag show in possibly the smallest venue ever conceived. The performer herself was quite entertaining. Unfortunately, we had the table directly next to where she was singing. This meant that four drunk, Australian musical theatre lovers were providing backup and banter for the 50 strong crowd.
On the night, we were certain we made the show that much better by not only having what was ostensibly an international act, but a bloody good one at that. Our dulcet (read: loud) tones were perfect for the harmonies and I think she really appreciated the backup dancing. A rapport was great and the awkward silences after every joke were merely a cultural misunderstanding. However, it was she who ended up getting paid at the end of the night. We were robbed.
The next morning, i wasn't as confident that our onstage presence was welcome.
However, I do believe that our rendition of Wicked in Covent Garden Markets at 1am was welcome. It was just a shame that there weren't many people about at 1 in the morning on a Monday night/Tuesday morning.
Silence! The Musical - Above the Stag
The following night I took Emily along to see the preview of Silence! The Musical. Extremely hungover, I managed to get lost on the way to the venue. I ended up finding the venue, after mistaking it for a dodgy pub.
Above the Stag isn't a dodgy pub
It's a dodgy gay bar.
A dodgy gay bar that I fell in love with. It is the perfect venue for anything I have ever wanted to produce/direct/star in. It's a cabaret joint plus a theatre. I didn't even need to see Silence, I had fallen in love.
Silence! The Musical didn't bring my high down. This is, in fact, a musical adaptation of Silence of the Lambs. Written by some guys (Musical Theatre Nerds: including Title of Show's Hunter Bell) in New York, it was a cult hit off Broadway in 2005. It then went into hiding for 4 years before resurfacing in London with new material.
I am so glad I saw Silence.
It is offensive, lo-fi, tongue-so-firmly-planted-in-cheek-that-said-cheek-is-bleeding theatre at it's best. The cast were great considering it was the first time they had performed the material in front of an audience. Surprisingly, Emily enjoyed the evening as much as I did! Her favourite number being 'I'd F**k Me' by Buffalo Bill. I do wonder sometimes.
In addition they gave me a glow in the dark button. Yes, a button. That glows in the dark. Win.
Nation - The National Theatre
I picked up £5 tickets to Nation last night. It was worth it, even if the story was painfully bad at times. It was a theatrical experience I hadn't had before. was so utterly blown away by the performances and the production as whole that it saved the fact the script is a turd. a steaming one at that.
Also, I love that I got £5 tickets and was sitting in the stalls, 7 rows back, practically dead centre. In addition, the programmes were £3. Most amateur productions in Sydney charge more for their programs. For that £3 I received a book. A book full of... things. Not particularly useful things, but things nonetheless. There was also a little booklet on how to build my own Nation. Now
that is quality.
You could learn something, ridiculous over charging Sydney theatres who expect $20-30 for a program. You hear me? Learn. something.
£3
Yes, three pounds.
Next up, I'm booking tickets to a few shows. Going to see Avenue Q, possibly Waiting for Godot with Ian McKellin and want to see Tom Stoppard's new one at the National Theatre (and purchase another £3 programme).
Any suggestions?
Not often does a news piece push me to actually write about something. However, an article in The Stage caused me to sit up and blog about the ACE and News International partnership.
