Paul in London

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!

I went along to see Burlesque on New Year's Day as I figured it would be camp and it would be crap. I was not disappointed. Leaving the cinema three other women were chatting to us commenting how dreadful they thought the film was. I was not sure what they were expecting in this Moulin Rouge meets Chicago meets Cabaret meets Devil Wears Prada meets Glitter musical about air rights and condos in downtown Los Angeles. Watching it as an extended music video of Christina Aguilera songs is probably the best way to see this film... Along with watching it with a group of people after a few cocktails. Drink will help ease the pain of the plot and that dialogue... It is also a pity that the very talented supporting cast is not allowed to do some more scene chewing. Instead we are stuck with some very creepy scenes of Cher playing den mother and helping Christina put on lip gloss... All without moving any facial muscles... This is so bad... It is kinda good... I can't wait for the

The hours seemed to fly by watching the Royal Opera's new production of Tannhäuser on Monday evening. The opera about man's dilemma between passion and purity is told on a grand scale with an enormous cast and all are in very fine voice. Johan Botha in the title role is the man unhappy with the excess of Venusburg and unsatisfied with harsh earthly realities. There is no pleasing some people I suppose, but he manages to give this story credibility and power throughout the four hours of the performance. The production itself is minimal with the orgiastic excess of Venus's grotto Venusburg limited to the Royal Opera's velvet curtain and a rather large dining table. When a sensual and athletic ballet emerges from what started to look like a gala dinner at the opera you couldn't help but wonder if all opera fundraisers are that fun. If there was only one disappointment here it was thinking that Venus (the lovely Michaela Shuster ) should not be in a dinner dress as

A rare trip to the cinema this week during the snow was also a chance to catch Ferzan Ozpetek's latest film Loose Cannons (Mine Vaganti). It is a family comedy drama with a gay twist. It was well worth the trip out in the snow to see a film that was well acted and nicely shot. But along with The Kids Are All Right , it is probably one of the few films playing at the moment that is worth venturing out in the snow to see (unless you have diabetes perhaps). It's playing at the moment at some sensible London cinemas.

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

Man: There are elements of the play that just allow for those sorts of pathos... Woman: Yes I would have to agree there Man: Of course for other people it would be like oh yeah I would just rather watch Eastenders