Theatre: The Cherry Orchard

It was only two years ago when I last saw a production of The Cherry Orchard. Either I have seen too much theatre, or this play is a favourite in this town. It is probably a favourite given its subject matter of class and the property ladder. Now that is something everyone who goes to the theatre here can relate to. And I really don't get out and see that much theatre surely?

The last time it was at the Old Vic, this time around it was around the corner at the National Theatre, and in a new translation by Andrew Upton. The most discernible difference I could note about this new translation was that there are a few more potty-mouthed words, which in the context of the drama and its setting makes the performers come  across like they are frightfully naughty schoolchildren. This is not necessarily a bad thing as the characters in this play could be construed as being a little naughty I suppose (or at least incapable of making sensible decisions).

There is also the problem that this production feels lost in the huge space of the Olivier theatre, despite over extending the set so it stretches across the stage. It is one big house this time around. Big is not always better and everyone also has to shout and play it big in this production for fear of not being heard... If feels at times that the characters have to be larger than life just to be heard (and seen). Chairs are thrown, big dance numbers are staged, emotions are larger than life...

But having said all that, the cast are great. Headed by Zoë Wanamaker, she gives an excellent performance of the conflicted Ranyevskaya, which will have you feeling sympathy for her and wanting to slap her at the same time. Conleth Hill as Lopakhin, the serf-made-good, gives an excellent performance balancing the comedy and drama that is central to the story.

So even a Cherry Orchard with a few blemishes is still a great night at the theatre and this show doesn't disappoint... Much... It is also part of the National Theatre Live and will be broadcast around the world on 30 June. The close ups of a broadcast might even benefit this production. Sitting in the circle it was hard to tell what facial expressions were on the actors.

Theatre: Fing's Ain't Wot They Used T'Be

Fings Ain't Wot They Used T'Be is not so much a musical but a music hall revue of songs with a very loose excuse for a plot. It feels a little like a downmarket Guys and Dolls (or at least one transferred to the East End). There are busty prostitutes, gamblers, fights and a sissy male... But not much of a story. That is not to say that it is not rather enjoyable with the songs being a pastiche of music hall styles where humour and melodrama are more important than characterisations or  driving forward a plot. This current production at the Union Theatre has an energetic cast and is a slick production. It sounds good too, with a small orchestra that is supplemented by the actors playing instruments as well.

It is amazing to think that Lionel Bart had written this the year before Oliver! as this is not in the same league. But perhaps that isn't the point. This is much more of a sing along. It's tempting to sing along at times and I am sure @Johnnyfox was doing it every now and then. Grab a beer and go see it and have a good time. It runs until June.

Just brush up on your cockney slang before-hand as there is not a glossary in the programme. Interval and post show musings follow...

Theatre: A Delicate Balance

There was something odd about this revival of Edward Albee's 1966 play A Delicate Balance, which is playing at the Almeida Theatre.

It's not just being warned upon entering the theatre to switch off rather than silence your phones as the slightest noise will upset the actors. It is that almost without warning, the actors will emote at such intensity that things become so disturbing and painful to watch it feels like you are watching someone's mental collapse. At one point during Wednesday evening's performance a mobile phone went off behind me and I feared that suicide on stage may have been next.

It is a play about a respectable middle class couple, their family, friends and perfect life. Although naturally being an Albee play nothing is quite what it seems and there is a secret terror ripping at their lives. Despite the drama, this is also a very funny play with some incredibly witty lines. But all the while you are kept on edge as you are never quite sure when things are going to take a turn for the worse.

The cast is led by Penelope Wilton as Agnes who is restrained to the point of being unbelievably remote. Her almost lifeless husband is played by Tim Piggott-Smith. Against this is Imelda Staunton playing Agnes's sister Claire who seems to be a permanent house guest in their home. She manages to provide the comic relief as she recounts such adventures as shopping for a topless swimming costume. As their daughter is returning home from another failed marriage, their lifelong friends arrive unexpectedly.

All the action is set in an oval-shaped living room. The round room was a somewhat distracting set for me as I couldn't help but keep wondering what shapes the rooms in the rest of the house were, and whether any house would have an oval living room given that it would lead to a lot of dead space. Given the importance of alcohol in this family the layout of the bar seemed unusual, but there was a substantial array of spirits, mixers and glassware for the various drinks consumed throughout the day.

Even suffering from jet lag from returning from Australia, this was a sharp and enjoyable play. The restrained and nuanced performances sometimes stretch the bounds of believability and can be at times frustrating, but the script directions are often very specific so it must be a difficult piece for actors to interpret. But then again acting in a straight jacket is part of what this play is all about... Go catch it... But have a martini first to loosen things up... And switch your phone to flight mode...

Movies: Pina 3D

PINA - Dance, dance, otherwise we are lost - International Trailer from neueroadmovies on Vimeo.

Pina 3D is a tribute to the work of choreographer Pina Bausch and tells of the feelings of her dance company to her unexpected death in 2009. At times it feels more like an embalming than a celebration of her work and her life. You're not presented with any background, or much biography (but it is on the internet), it is about the performance of four of Pina's works intercut with other scenes and anecdotes from the dancers, which are occasionally poignant...

You could be forgiven with all the gloating about 3D coming to the art house movies that this film is any better than the standard 3D fare. Alas it is not. Like all 3D films it is under-lit and like watching a focus group through a two-way mirror, even to the point the smears on the heavy 3D eyewear give the impression of fingerprints on the window pane. For most times dancers in the distance looked blurry and washed out and the movement distorted to the point that I felt I was a stroke patient. Watching the poor quality image was infuriating to the point of distraction.

Only on occasions does it look brilliant and makes use of the format, such as when a woman stands on a chair and dives through a mans arms like a fish, or in the scenes with water or on location in Wuppertal (the suspended monorail makes a few guest starring appearances). These are few and far between however. It isn't particularly sexy or sensual either (notwithstanding the partial nudity, the occasional nipple and obviously fit bodies). For something so fluid and thrilling to see live, it seems a bit plain...

All told it is an interesting failure... You're likely to leave the cinema with your head spinning, but that's the shutter effect from the LCD glasses rather than anything artistic or inspired. See it in 2D.

Overheard at Heathrow

Woman: I wish I bought pyjama pants for this flight...
Man: Vagina pants??
Woman: No pyjama pants...

Theatre preview: Trial of the Mariner

I caught a preview of The Trial of the Mariner at the Hoxton Hall this week. This is a work that is presented by the Lotos Collective and Hoxton Hall, and part of their Rebirth programme. It was not the full performance, but where they had got to so far in their work and it looks set to be an imaginative take on sustainability issues.

As it is an interactive multi-media piece about plastic, there are some creative uses for old margarine tubs, milk bottles, yogurt pots and the like. It was in the bar before the performance where you are greeted with this creation (that should be incorporated into the production in future). She was somewhat menacing yet also strangely alluring with large paper-mache breasts and milk bottle tops for nipples. The Lotos Collective have previously undertaken performances and site-specific projects in London, Naples, Ghana and Beirut and this piece continues along their ethos.

The story is set in year 2111, and a group of desperate sailors embark on a voyage to new land and arrive at a plastic continent, where things are not quite the paradise expected. It is inspired by Samuel Taylor Coleridge’s Rime of the Ancient Mariner and Lewis Carroll's The Hunting of the Snark (not too mention other sources such as Waterworld and 20,000 Leagues Under the Sea and explores themes around destruction of oceans, climate change, and the final resting place of all those plastic bags...

It is a performance that is an "immersive sensory experience". So be prepared to be pushed around and have a banana or two thrown at you. At one point I couldn't hold a wobble board as I had a drink and three bananas. I don't think I have found myself in that situation at a theatre before and I didn't want to eat the props before opening night. There is dance, circus arts, music and fabulous puppetry involving jellyfish-like creatures. The set is made from recycled materials and built by the local community and schools.

One of the best things about the piece is that you can focus on what you want as the story comes together, set to live music by The Junk Orchestra. Just be ready to duck from time to time when those long tubes of reused plastic come blowing towards you...

It opens on the 7 May. The Hoxton Hall is a great venue and close to a number of sensible bars and restaurants in the East End. It's good good value and worth catching.