Paul in London

It is always good fun introducing non-Australians to the background of the country with the rock, the opera house and the reef . Before a few of us settled in to watch the final performance of The Sapphires at the Barbican I explained that in 1967 there was a referendum where the people of Australia agreed to give the federal government power to formulate laws over Aboriginal people. Previously they were excluded from things such as the census, and the constitution did not allow for the federal government to make laws specifically for Aboriginal people. Surprisingly the programme notes of the show get it wrong and incorrectly refer this to full citizenship rights, but I guess the above description is a bit long-winded and its arguable the referendum was also seen as a symbolic gesture which led eventually led to greater rights. Against this backdrop is the story of The Sapphires and inspired by writer Tony Briggs's mother and her cousins, who toured Vietnam in 1968 to perfo

I saw Buried Child at the National Theatre in 2004 and thought it was hilarious. The version I saw on Friday at Upstairs at the Gatehouse turned out to be less so. It probably did not help making a mad dash from south London to be there and finding severe delays impacting my journey, but I have been to the Gatehouse enough times to not be too bothered by that, particularly when the performances are good. This is a play that challenges the American dream, highlights the poverty of rural life in America and looks at the breakdown of family values. These topics have been in plenty of plays, but here they are presented in a brutally honest way that alternates between the real and surreal. You often need to read between the lines to understand what is going on.

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,

Friday night was an opportunity to catch My Beautiful Laundrette, which is playing at Above The Stag  at Victoria. This adaptation of the film is briskly paced and well acted by the ensemble, particularly the two leads - Yannick Fernandes and James Wallwork - who are totally convincing as Omar and Johnny. The drama unfolds on a set that feels like you are watching a game of tennis (not to mention having to see some gratuitous graffiti... This toned down adaptation of the film doesn't extend to the set). But getting past the twisted necks, there is a heart to the story of two boys in eighties London who meet again after leaving school. And one is a skinhead. And the other is setting up a laundromat. This production will have you strangely nostalgic for the eighties, which may be the result of the sweeter tone the play strikes over the film... And the fact it is a mildly retro location of the Stag helps too... You can smell the eighties the minute you walk into the venue (althoug

In an attempt to see something different from the usual theatrical fare on Saturday evening, I was at the Drill Hall to catch The Storeroom , which has been described as a potent cocktail of glamour murder and intrigue. This one-woman show starring Sian Williams is very intriguing and inventive. And certainly something different. Williams does hold your attention while she is on stage, thanks to her intense performance and mildly sexy outfits... While its origins from the Edinburgh Fringe appear obvious at times (economical sets, lighting and props), it was an enjoyable piece from The Kosh . And the red raincoat and the ventriloquist scenes were particularly entertaining. There's one Sunday matinee performance to go today...

Normally I catch a show just as it has opened (or started previews), but for a change this week I caught An Ideal Husband , which ends its run at the Vaudeville Theatre on Saturday. It is a great production, and I gained a new appreciation for Wilde and his work watching the performers in this production. It highlighted to me (at least) that everything hinges on the performances in making this show amusing or ordinary. The laughs are totally dependent on the actors' delivery, timing and emphasis. For the most part they got it right. Watching this production is like eating a tub of good vanilla ice cream. Awfully satisfying and enjoyable. It also helps having a drink at the circle bar in the Vaudeville Theatre amongst all the newly restored Victorian splendour. You will feel somewhat civilised and reminded that this is what going to see a play in the West End should be all about. A jolly good sense of occasion. Next up at the Vaudeville is Neil LaBute's new play, In a F

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

With all the talk about The Black Swan , including recent fan art , it was nice to see the Royal Ballet's classic production  Monday. Zenaida Yanowsky and Nehemiah Kish were Odette and Prince Siegfried (pictured above). It is a pleasure to watch Ms Yanowksy. Sitting close, you could appreciate the commanding performance she gives. And she is a very tall swan too... A very satisfying production of a perfect ballet, worth repeat viewings. It is a great date ballet too and given it was Valentines Day there were a few couples around and dare one suggest romance was in the air (hopefully not the cursed kind)... It runs  various dates until April 5 . Photo credit: Royal Opera House / Bill Cooper