Paul in London

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 tha

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 e

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 wh

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 o

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

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

I had reservations about catching the final night of Fidelio at the Royal Opera. The bad notices for this production (although not for the performances) had lowered my expectations, but in fact there is much to enjoy about this work, and no doubt explains why it is a favourite among some people. It is easy to understand why it is still performed. The leading lady gets to disguise herself as a boy, fend off the love interest of a woman, rescue her husband and inspire a minor revolution. All during this there are some very interesting arias to sing, and the second half things get particularly dramatic. It is a rather inspiring work with a strong central character. Nina Stemme in the lead role was also strong and believable. She spoke on an earlier Royal Opera podcast about the role and she gives the piece a solid foundation. She also looks perfect for the role of a woman who disguises herself as a boy (and she is helped by some rather sensible trousers, jacket and cap)... At tim

Easter weekend feels more like a summer weekend in London. And if you're not at the beach, there is a chance to take in a replica seaside  at the South Bank Centre , part of the celebrations for the 60th anniversary of the Festival of Britain, which have now got underway. The festival celebrations also include a rather large fox near Waterloo Bridge, which looks rather unhappy in this photo... It could be the heat (or what happened to it getting to London)... Even with the crowds it is worth a look. The festival runs until September. 

Posted via email from paulinlondon's posterous Actually when you think about it, it isn't that funny... But after a night out at the theatre and a generous bar I found it hysterical...

The first thing that strikes you about this Olivier-award winning play is how great the production looks. You feel like you are transported back into the 1950s in a living room fashionable for that time, and populated by people you would expect to see. As the play gets going however it becomes apparent that this is going to be a darkly comic night at the theatre that looks at property, neighbourhoods and the enduring value of real estate... It was worth finally getting a chance to see it before it ends its run...