Paul in London

I couldn't pass up the chance to see David McVicar's production of Aida at the Royal Opera on Tuesday. I liked the first time around so an invitation to see the dress rehearsal with a few other bloggers seemed like an awfully sensible way to spend a Tuesday morning. After getting past the crowd of old age pensioners and students that seemed to make up this preview audience (and they are a tough crowd - well the pensioners anyway - steer clear of their elbows), having a strong cup of coffee, we settled down in our seats to watch the drama unfold. Johnnyfox and I were given the choice of the stalls or a box. We opted for the director's box. There is something thrilling about this production of the opera that lingers with you. It is alternatively bloody and sexual, but never feels out of place or over the top as Aida productions can tend to be. Instead there is an intimacy that draws you in to the central characters and recurring themes of war and love. War comes first,

It would be fair enough to say (to borrow from the Opera and from the late Ms Anna Nicole) that the Royal Opera's Anna Nicole blew us... away on Thursday night. The performances, production and the opera was inspired. What starts as a dig against a C-list American celebrity ends up becoming a strangely poignant opera where you feel some sympathy for the slapper. You may even begin thinking she is the Traviata of the day. That is the trouble with the arts, they can make people seem so much nicer than reality. Still if you can stomach sympathy for Anna Nicole, this cautionary tale against fame turns out to be quite a ride. Then again the real Anna Nicole was quite a ride too... The music by Mark-Anthony Turnage is a jazz-operatic fusion that keeps things moving along nicely and seems perfectly matched to the story and subject. The libretto by Richard Thomas is often good too, although it seemed (at least in the first half) there was too much emphasis on profanities rather th

Wednesday night was an opportunity to catch the ENO's Parsifal . This 1999 co-production with San Francisco Opera and Lyric Opera, Chicago and is purportedly the last time it will be staged. There are seven more performances to go. Directed by Nikolaus Lehnhoff , What makes the opera a standout is the brilliant staging and imaginative English translation. This translation transforms this production and keeps things moving at such a pace you won't realise you have been there for over four hours. On top of this there is such spectacle at times it is almost hypnotic. A stunning cast includes John Tomlinson as Gurnemanz, Australian tenor Stuart Skelton as Parsifal and Jane Dutton as Kundry. Mark Wigglesworth conducts. Wagner is still an acquired taste, but this probably goes some way to make this work accesible (and palatable). Leave work early and go. There are greater powers at stake. Initial 'boo raves and reactions as follows: Listen!

I was part of a large gathering of bloggers who went to see Tuesday night's preview of The 25th Annual Putnam County Spelling Bee at the Donmar organised by the West End Whingers . It was a huge gathering and it felt as if half the circle audience had their own blog and a minor following... Anyway, this is a show about a spelling bee , and the lives of its awfully competitive American contestants. This show looks so polished now that it is hard to believe it is an early preview. Only the sounds from the grumbling of the creative team (if you're sitting in the circle) would give away that this is still a work in progress. I was familiar with this show and had seen it on Broadway in 2006 . As I also was a speller back then, I was familiar with the audience participation format, which requires a careful selection of participants who won't ham it up or be too smug... That ruled out most of we bloggers I suspected... This show is quirky and very funny with the book by R

It is February, so it is long overdue for another production of Jason Robert Brown's The Last Five Years . This time at the Tabard Theatre in Chiswick. It seems like there isn't a month in London when you can't catch this show. And then during Edinburgh Fringe , there are usual competing productions of it, along side multiple productions of "Sweeney Todd" and musicals about infectious sexually transmitted diseases. It is understandable that this show is popular as it covers a range of emotions (sad, happy etc), gives two actors a chance to shine, and is potentially cheap to stage. The popularity of staging this show should not be confused however with the show being any good. The problem with The Last Five Years is it contains two unsympathetic characters who never connect with each other (let alone the audience). And the series of songs are of varying quality. Sure some of the songs are funny, but others come across as smug, insincere or unpleasant. Inspired

Thursday night I caught the Merry Opera's new production of Troy Boy at Upstairs at the Gatehouse . The Merry Opera company takes opera productions and develops new English translations with a twist. It is a great concept, although in this case more abridging of the source material might have helped. I doubt there is much that would be missed from Offenbach's La Belle Hélène (the story of Helen of Troy) if an extra half hour was cut from it. Nevertheless there is some fine singing and performances in this occasionally sexy production. The energy and enthusiasm of the cast is without a doubt. I liked the concept of Helen stuck in suburbia and beginning to let her mind wander in a Greek restaurant. It  gives this otherwise odd premise some solid grounding. There were (at least on Thursday night) a few creaky moments with furniture bumped and props knocked over, but no doubt these will be ironed out as the run progresses. And this is such great value for a night out, with tic

The Children's Hour , which has just started previews at the Comedy Theatre is one of those blockbuster dramas with a fantastic cast that you just have to go see. Lillian Hellman's  dated 1934 play gets some serious star power here. With Keira Knightley and Elisabeth Moss in the lead roles, along with Ellen Burstyn, Carol Kane and Tobias Menzies you feel as though you should applaud everyone's entrance just because it is the thing to do. Despite running at the Comedy Theatre, the play is a drama set in an all-girls boarding school run by Karen and Martha (Knightley and Moss). When an angry student runs away from the school, she tells her grandmother that the two headmistresses are having a... (whispered so you can't hear...)  lesbian affair to avoid being sent back to school. Therein lies the drama and questions about why two women are setting up a boarding school in a country town, what is truth and why does Karen keep prolonging her engagement abound. Of course t

Friday night I finally managed to catch Season's Greetings at the National Theatre . This revival of Alan Ayckbourn's black comedy has been showing since late last year and has received some great reviews . Set during the Christmas holiday period in the early 1980s, it focuses on an average English family Christmas where relationships have gone stale, children abound (although not on stage), and people have had a little too much to drink. I'm assuming that it is an average English family given the number of comments overheard during interval such as "that's a bit close to the bone" or "it reminds me of my family." These were also rather curious comments given that the first act's final scene must rank as one of the funniest on stage for some time. It involves a sexual tryst gone wrong and a rather annoying toy that blows a whistle and beats a drum. I guess there are some English proclivities I might not fully understand. Of course in some

First impressions below of an emotionally charged and thrilling night at the theatre. It's return run at the Soho Theatre is until 20 February. More later... Listen! Listen!

It was survival of the acrobats at Totem, Cirque du Soleil's latest production which opened tonight at Royal Albert Hall . This spectacular show traces the journey of humans from amphibians to acrobats in glittering costumes. It all goes to show that we have come a long way (or at least some of us have). The comedy relief was more hit than miss so in this evolutionary tale the acrobats are ahead. First impressions below... Listen! Listen!

It is nice to get out the week before Christmas and see a show. Particularly as an attempt to see La Boheme at the Cock Theatre Saturday was thwarted by too much snow . So as a break from the usual Christmas festivities, I took Gio and Bill to see a refreshed version of Love Never Dies at the Adelphi Theatre . As we left the theatre by one of the fire exits, we brushed past a man who resembled Andrew Lloyd Webber racing the other way. It most likely was ALW and Gio and Bill wanted to stop and chat / stare / gawk or do whatever fans do. I pushed on as there was nothing to see only the composer... When I last caught Love Never Dies I was a little bit disappointed by the plot, the gloomy characters and the unintentional hilarity of it all. Nine months have passed and in what must be some sort of theatrical gestation, the production has been reworked and it is a substantial improvement. The story is clearer, the characters make more sense and things generally flow a bit better. There

Tuesday night was an opportunity to catch the first preview of On The Twentieth Century at the Union Theatre. Cy Coleman's 1978 musical is set in the 1920s (or it could be the 1930s) where producer Oscar Jaffee is trying to score a hit again with his former leading lady, who has gone on to bigger success in the movies. I had not previously seen this show, but over a pre-theatre fish and chips (or as they tend to call it in south London, fush and chups) at  Masters Super Fish , Johnnyfox was waxing lyrical about how wonderfully rich and inventive the overture to the show was. So I felt his disappointment when the overture was arranged by musical director Oliver Jackson for a saxophone quartet and piano. It was still wonderful but not quite so rich. Actually throughout the show Johnnyfox was mostly singing along so I could sense it was going to be one of those evenings where I would be experiencing quite a lot of audience participation... Anyway, this was the first preview and

After catching  Onassis the Play at the Novello theatre  on the weekend, I found I rather enjoyed the smooth and dirty talking central character. On one hand it is a silly play that goes on a bit. On the other hand it is entertaining with some great dialogue and an engaging performance by Robert Lindsay in the title role. And there is also Tom Austen, playing the surly son Alexandro, stripping down to his underwear for a nighttime swim. It all makes for a great night out. Whether it is a  realistic depiction  is probably up for debate. The women in his life - Callas and Jackie O - are more caricatures than real people here. And when things start to get interesting dramatically it is another excuse for some Greek singing. Historical moments fly by as the play moves from being set on his boat to his island. It all seems very glamourous.  There are some great monologues in the play, including one where Onassis talks about how his experience being sodomised as a young man made him

Listen! Listen!

Listen!

I wasn't sure what to expect when rolling up to the Shaw Theatre on Thursday evening this week to see Elegies for Angels, Punks and Raving Queens . While I knew one of the ballads in it, I assumed it would be more than just a series of ballads inter cut with a series of monologues. Alas it was an evening of ballads with monologues, some of which were more successful than others, about dying from AIDS. It is serious stuff and it is probably not everyone's idea of entertainment, especially for those people who have lived (or a living) through the epidemic. For me, the monologues were more interesting than the music, but neither really linked together in any coherent way. The music was largely forgettable and it wasn't until the closing number did it feel like the show made any sense. By then I wasn't ready to be moved by it, but just glad for lively performances. But it is a fundraiser for the Terrance Higgins Trust and a worthy cause for an evening's reflection

The Camden Fringe is on at the moment which is an opportunity to see some strange and interesting new theatre... It also feels like an excuse to just "put on a show" in the Judy and Mickey kind of way... This was somewhat apparent with the Sondheim at 80 review I caught with Johnnyfox on Tuesday evening. It finished its short run this week and there isn't too much you can complain about a bargain basement show like this. It is great that Camden is using its spaces in August to encourage this sort of thing. I can only assume that the "deer in headlights" looks of the cast members lessened for the later performances, and that they remembered all their lines... My only other thoughts were that an evening of all Sondheim can be tough going... And that the show Passion should be left out of any anthology as it provides too many unintentional laughs listening to the songs out of context... I'll find out next month if this changes when watched in the correct

The  Fantasticks  (which I mis-pronounced Fanta sticks thinking it was some sort of ice lolly) is now playing in the West End. It's a fifty-year old musical with whimsical songs and and tells an allegorical story that forces actors to run about and inflict injury on themselves for laughs. It played for forty years in New York and again has been revived again there recently, so there has to be something going for it. None of our party that included Johnnyfox and the West End Whingers had seen it before and the so it was as good an excuse as any for catching the second preview of this London revival... It is great they are offering stage seats for the show. Not only are they cheaper tickets, it is more fun watching it sitting on stage, assuming you can stay awake for the full two hours (not everyone in our party could do this)...  Plus you get a special little tour backstage to get to your seats (well not so much a tour but just a walk down some narrow stairs and past the props

Listen! via AudioBoo Posted via web from paulinlondon's posterous

Thanks to a large volcanic ash cloud which stranded Johnnyfox in New York (not that he minded by his tweets ), I was lucky to catch Daniel Boys at Pizza on the Park Thursday evening. Daniel has appeared in various shows including Avenue Q and has recently released an album   So Close , that has become very popular... All of this has given him the opportunity to showcase his talents and charm in the intimate space of Pizza on the Park. It was Daniel, a great band and an audience. An audience that appeared to be mostly very appreciative women. There must be something about his boyish charm, enthusiasm and lovely vocals that drives women crazy. While they weren't throwing an underwear on stage I wondered whether this was simply because they weren't wearing any. Anyway, Daniel performed mostly on a stool behind a music stand and looked loveable. This might have seemed a bit odd if you were directly in front of him (unless you like singing music stands), but fortunately I was