Tag: Barbican Theatre

The Encounter, Complicite/Simon McBurney, Barbican, 27 February 2016

When we heard about this Complicite production, The Encounter, Janie and I were really keen to see it, so much so that we sort-of organised the Nicaragua holiday around it; spotting good seats available for a bit later in the run and thus booking to go away beforehand.

Janie and I have always had a soft spot for Complicite – by chance the spare ticket I had which became Janie and my first date in 1992 was for one of their shows at the National; Street of Crocodiles. That was the first time either of us had seen Complicite, so I suppose we were transfixed by Complicite as well as each other.

These matters are all about timing I suppose. Our timing for seeing Encounter, just a few days after returning from Nicaragua, was perhaps not so clever. The jet lag together with the change from 30 degrees Centigrade to 30 degrees Fahrenheit temperatures gave both of us some trepidation ahead of an evening out.

Still, the show is inspired by the novel Amazon Beaming by Petru Popescu, so perhaps we would at least be transported back to that warm tropical feeling? Too right!

Indeed, the show uses an amazing binaural sound technology, where you wear headphones and sense the sounds coming from any direction around your head. One of the tricks is the incredibly realistic sound of mosquitoes buzzing around you. Now we had surprisingly few encounters with those little pests while we were in Nicaragua – the dry, windy season saw to that. But of course everyone is in fear of mozzies out there just now, with prophylaxis unavailable for the dreaded dengue fever, Chikungunya and topically tropically Zika viruses. Indeed Mukul was at only 60% occupancy when we arrived even though it expected 100% occupancy, as 40% of the expected guests (all bookings from the USA) had cancelled in fear of Zika. Suffice it to say that Janie and I were still highly sensitive to that mozzie sound. Thank you, Mr McBurney.

But of course the show is an absolute triumph. We lost ourselves in the Amazon of our heads for a short while much as Loren McIntyre was genuinely lost in the Amazon for a long while back in the 1960s.

Here is Complicite’s own bumf on the production.  Here follow some of the deserved rave reviews from Edinburgh:

Of course Complicite (at least in the hands of Simon McBurney himself) is no longer acrobatic, movement-oriented shows like Street of Crocodiles. Be fair, the physical stuff he/they were doing nearly 25 years ago was extraordinary enough. So McBurney now adapts his imagination to other means of stimulating our senses – mostly aurally this time – and still he can surprise and thrill.

This was one hot ticket and we are so pleased that we made the effort to book and make our plans around this wonderful production.

Big And Small (Gross Und Klein) by Botho Strauss, Barbican Theatre, 28 April 2012

We were really looking forward to this piece but found it disappointing.

It felt to us like a rather inconsequential, silly piece trying to be profound.

Cate Blanchett has never really done the business for me on stage. Strangely, with this piece, my feelings about her undoubted abilities as an actress were enhanced but it would have been a struggle for anyone to wring much out of this play.

Here is a link to a trailer vid from the Sydney Theatre production (presumably filmed before it came to the Barbican).

Here is an interview with Cate Blanchett from this tour:

Cate Blanchett and Benedict Andrews talk a good game.

Mixed reviews – for a link to a search term, click here.

Lunch At Lambeth Palace, Followed By The School For Scandal by Richard Brinsley Sheridan, Barbican Theatre, 15 June 2011

A rare visit to the theatre on my own and on a Wednesday. No point trying to get Janie to a Georgian comedy; she doesn’t do classics and she doesn’t do farcical comedy of any kind.

But for reasons of my own – I still have some distantly related ideas for a comedy play on a jotter – I very much wanted to see this show, which had but a short run at the Barbican before going on to the Holland Festival.

As it happens, I had been invited that day to Lambeth Palace for lunch by the Church Commissioners (as Ian Theodoreson’s guest), so it seemed a suitable day for me to take the rest of the day off and therefore be free to spend the early part of a midweek evening at the theatre.

While suitable in practical terms, it was perhaps not quite such a suitable cultural switch from a dignified Lambeth Palace lunch under the auspices of Rowan Williams, the Archbishop of Canterbury, to a bawdy Georgian comedy under the auspices of Deborah Warner, the radical stage director. Neither the irony nor the culture shock of the switch seemed to affect me unduly on the day.

The Lambeth Palace lunch was delightful, btw. I met several interesting new people (this was the only occasion I met Rowan Williams) as well as getting a chance to chat with Ian T and the people I know in that Church of England circle. I was particularly impressed with the dignified informality and grandeur with a tasteful lack of ostentation to the whole Lambeth Palace event.

Afterwards I had plenty of time to do some reading at the Barbican Centre over a coffee or two in the afternoon before seeing the play.

Here is an explanatory vid with Deborah Warner talking about her production of the School For Scandal:

In truth I wasn’t bowled over by this production, which had received mixed reviews. This search term – click here – will find you reviews and other resources on the production.

It had some super people in the cast and I thought some of the modernising ideas were quite interesting. But on the whole I thought it was a pretty standard production of a Georgian play with a few nods to modern touches.

Of course it isn’t easy to refresh ideas that have been around for centuries and get their relevance across to modern audiences…

…perhaps the two halves of my unusual day had more in common than I thought about at the time.

Macbeth by William Shakespeare, Barbican Theatre, 19 February 1994

Janie is not partial to Shakespeare, but this production directed by Adrian Noble with Derek Jacobi as Macbeth and Cheryl Campbell as Lady Macbeth was quite special and we both thought it very good.

Theatricalia sets out the deal here.

I now learn that one of the three witches was Tracy-Ann Oberman, who went on (shortly after this production I think), to perform in NewsRevue/SportsRevue. Not our first sighting of her, that was in The Changeling at Stratford:

The Changeling by Thomas Middleton & William Rowley, RSC Swan Theatre, 29 October 1992

Returning to The Scottish Play, though, this is one of two productions Janie and I have seen; the other being the Tony Sher/Harriet Walter production to be Ogblogged “in the fullness”.

A couple of contemporaneous reviews survive on-line:

Here is Michael Billington’s review:

Billington On MacbethBillington On Macbeth Sat, Dec 18, 1993 – 26 · The Guardian (London, Greater London, England) · Newspapers.com

Here’s the Michael Coveney clipping:

Coveney On MacbethCoveney On Macbeth Sun, Dec 19, 1993 – 58 · The Observer (London, Greater London, England) · Newspapers.com

Not brilliantly well received, then.

The Seagull by Anton Chekhov, Barbican Theatre, 14 September 1991

Stellar cast for this RSC production of the great Chekhov play. Alfred Burke, Simon Russell Beale, Amanda Root, John Carlisle, Susan Fleetwood, Roger Allam…to name but a few. In the capable hands of Terry Hands.

The Theatricalia entry for this one can be found here.

Bobbie and I both enjoyed this production a lot.

I hadn’t realised that this production was Terry Hands’s swansong for the RSC, but Nicholas de Jongh made much of that fact while praising the production in The Guardian:

De Jongh on SeagullDe Jongh on Seagull Sat, Jul 13, 1991 – 21 · The Guardian (London, Greater London, England) · Newspapers.com