Tom Piper – Ian Louis Harris

The Haystack by Al Blyth, Hampstead Theatre, 7 March 2020

For some unknown reason, we didn’t book this when it first came out. I think Janie was on a bit of a “let’s be more selective about what we see” spree at the time and at a glance I thought this play might be a bit geeky and not to her taste.

But I was wrong and I’m so glad we had the opportunity to put matters right before the end of The Haystack’s run.

Below is the short trailer vid:

If it looks like a bit of a thriller, that’s because it is a bit of a thriller. Also, the subject matter is, technically, very geeky indeed. Yet the topic; the use of technology for surveillance in our culture, is covered in a fascinating, human-interest story way. The geeky elements are covered well, but also in a way that ordinary folk can understand and relate to. Trust me, if Janie comes out of seeing a play saying that, it has done a very good job.

Here is a link to the Hampstead Theatre resources on this one.

Ironically, those resources, including the programme, enabled us to place the writer, Al Blyth, under surveillance. Janie and I deployed our sophisticated facial recognition systems (otherwise known as our eyes) to spot Al Blyth in the audience that night…sitting next to us. Fiendish we are.

Janie nearly blew our cover by engaging him in polite conversation, but thought better of it, not least because he seemed quite engrossed with his own guests.

Proof positive though, if such proof were needed, that I know how to choose good seats at The Hampstead.

Meanwhile, the play and this production of it were cracking good. Really, really good. This is the first piece we have seen Roxana Silbert direct for some time; if it indicates the quality she is going to bring to The Hampstead in her role as Artistic Director, her appointment is seriously good news for one of our favourite places.

The play is called The Haystack because looking for lone wolf security threat types is like looking for a needle in a haystack…or is it, if you have a plethora of machine learning and surveillance tools at your disposal? Further, if you deploy those tools and techniques, are you in danger of turning the society you are trying to preserve into the very type of society you are trying to avoid?

The acting was all very good, with special mentions to Oliver Johnstone & Rona Morison as the central pair plus Sarah Woodward as a believably creepy spook.

It has been very well received as a production – click here (or look within the Hampstead resource above) for reviews – it deserves a West End transfer and I hope it gets one.

A Museum In Baghdad by Hannah Khalil, Royal Shakespeare Company, Swan Theatre, 14 October 2019

Gertrude Bell, 1909, in what is now Iraq

Janie and I saw a preview of this superb production at the Swan, about a week before press night.

We became fascinated with Gertrude Bell when we saw the film Letters From Baghdad and a panel discussion about it a couple of years ago at the Curzon.

Letters From Baghdad Followed By Panel Discussion, Curzon Soho, 27 April 2017

Hence our enthusiasm to decamp to Stratford and see A Museum In Baghdad more or less as soon as it opened. The RSC explains and describes the piece in its resources here.

Playwright Hannah Khalil explains her thinking behind the piece here:

The following trailer explains little but does give a flavour of the atmospheric music and sensescape of the piece:

Janie and I loved the play/production and came away from the show buzzing from the quality of ideas, drama, sounds and emotions we experienced at The Swan.

Janie tends to dislike plays that overlap time periods (this play is set in 1926 and 2006) and mess with the linear telling of stories, not least because she often finds that confusing. But this one works so well and certainly worked for her, such that the overlapping of the two time-settings just added a little to the chaos of the situations being depicted, without interfering with the narrative line.

The production runs at The Swan for a few months before transferring to the Kiln in London. We have not yet been to the latter since its refurb, so wonder how well the piece will work there. It certainly worked wonderfully for us in the three-sided Swan setting. It certainly should appeal to Kiln audiences.

All of the acting was top notch, as was the design, sound and movement. Hard to single out performances, but Emma Fielding, Rendah Heywood and Rasoul Saghir were exceptional.

We were grateful to be staying just across the road in The Arden, as the heavens were in open mode that evening. We debriefed over a snack supper there. I believe I spotted Mark Ravenhill with his entourage, amongst the small number of people who decamped to the hotel after the show.

We loved A Museum In Baghdad – what else is there to say?

Postscript following press night: reviews of this production can be found through this link.

The King Of Hell’s Palace by Frances Ya-Chu Cowhig, Hampstead Theatre, 28 September 2019

We wanted to like this. The story, about a medical scandal and whistle-blowing, set in rural China in 1992, sounded right up our street.

Playwright Frances Ya-Chu Cowhig makes a compelling case for her play here…

…but we found the play itself stilted in style, the characters one-dimensional and the story rather too unsubtly obvious.

Chinese theatre perhaps has some of the above characteristics embedded in its culture, but Janie and I are familiar enough with China – we’ve been going there on and off since 1993 for goodness sake – we just felt that this play missed many opportunities to make its points more thoughtfully.

We felt that a talented cast was doing its best with a lengthy wooden script, so try as we might we couldn’t muster the desire to return for 75-80 minutes more after the interval.

A rare miss from the Hampstead these days, although we have noticed a sense of “playing it safe” creeping in to the upstairs scheduling; hence we’re booking less up there. Our next visit will be downstairs.

Here is a link to the Hampstead’s resources on this play/production.

It’s had decent reviews – this link should find them for you.

The Intelligent Homosexual’s Guide To Capitalism And Socialism With A Key To The Scriptures by Tony Kushner, Hampstead Theatre, 22 October 2016

I’d forgotten how much Tony Kushner likes to write long plays. Perhaps the unfeasibly long title for this play (which Kushner helpfully abbreviates to an Apple-device-like nickname “iHo”) should have reminded me.

But I did remember how superb Angels in America had been in 1993, even though I only saw the first part of that seven-hour epic as I was so poorly the day Janie and I were supposed to see the second half that Janie went to see it alone while I spent the evening (as indeed I had spent the whole day) on the potty.

It had been a long wait for the next Tony Kushner and I snapped up these Hampstead tickets with relish when I saw the superb-looking cast and creatives list for iHo.

Before I forget, here is a link to the Hampstead’s excellent resource on this production of iHo.

Still, come the weekend of our visit, when I saw that the production was listed as 3 hours and 30 minutes long, my heart sank a bit and I started to formulate contingency, bail-out plans, just in case it was all going to be too much. Two intervals give you extra scope for polite bail-out, of course.

Neither Janie nor I tend to have as much attention span as we once had. Perhaps it is a sign of the times; younger folk these days hardly ever finish a…or perhaps our increasing age decreases our patience – ’nuff said.

I needn’t have worried. The play has plenty going on to hold my attention for that length of time. Janie was less sure about the play than I was, but she was very taken with the performances, the design and the directing.

We ran into John and Linda – a couple we often see at the theatre and who live near the flat in Notting Hill Gate – for the first time in ages – chatting to them made both intervals whizz by.

The play might pick up some criticism for being a long, meandering ramble through an essentially simple plot about a family and their brownstone homestead in Brooklyn. But of course the play covers more than that; homosexuality, capitalism, socialism (and indeed Marxism) naturally show up; to a greater or lesser extent defining characteristics of the complex personalities of the chaotic protagonists.

Central to the plot is the overt and outspoken desire of the central character, a retired longshoreman/union-leader played excellently by David Calder, voluntarily to commit an act of euthanasia. His bisexual employment-lawyer daughter, the equally excellent Tamsin Greig, an intriguing opponent to the idea, matching the old git with her advocacy and connivances to try to steer the outcome her way, metaphorical punch for metaphorical punch.

The rest of the family and their entourages were also wonderfully depicted by this excellent cast. Family row scenes tended to have several people yelling at the same time, yet, through superb writing/directing, I felt that we were getting to hear and follow everything we were supposed to.

Anyway, we saw this production in preview, so the reviews are yet to show. The good ones will (in the fullness of time) be on the Hampstead resource for this production – here’s the link again. You’ll have to find poor/indifferent ones for yourselves unless I decide to return to this page and add some.

I thought this play/production was great and well worth seeing. Janie, less sure about the play, still thought it worth seeing. We both found a light, shawarma supper afterwards well worth eating.

A “Works Outing” To Remember, From Detroit To Fung Shing Via Scissor Happy At The Duchess Theatre, 12 December 1997

One of the more memorable Z/Yen Christmas outings, this one.

In an attempt to start to big-up the event, we tried a west end evening, with bar drinks, theatre visit and dinner in a private room.

Perhaps the bar bit was not a great idea ahead of a silly play, Scissor Happy, that was relying on audience participation for laughs.

Anyway, we started in Detroit – by which I mean the bar in Seven Dials, long since defunct as I write 25 years later – not the City in Michigan, obviously.

Then we went to see Scissor Happy at The Duchess Theatre. I wrote the following in my theatre log:

Works outing for Z/Yen – went very well.

Michael Moore’s drunken interventions were especially memorable.

Michael was the husband of one of our employees – Rachel. He was significantly older than her, indeed older than the rest of us. At first his audience interventions went down well with cast and audience, but he got carried away and for a while seemed to think that he WAS the show.

I remember several of our number being embarrassed about this – not least Rachel – although I also recall hearing on exit other audience members debating whether that funny old geezer was a plant from the show or really a member of the audience.

The Fung Shing meal was excellent in out private room. At that time Fung Shing was, in my opinion, the best restaurant in Chinatown. Writing 25 years later, it is another long-since defunct place, sadly.

Returning to Scissor Happy, though – I wonder what made us chose that play? Some sort of lowest common denominator thinking? Or perhaps it came recommended by someone…certainly not me! Not my sort of play at all.

Nor Nicholas de Jongh’s, who described it as “piffle” in the Standard:

23 Oct 1997, Thu Evening Standard (London, Greater London, England) Newspapers.com

Strangely, Charles Spencer in The Telegraph rather liked it, while admitting “it depends who is in the audience”. Too right!

24 Oct 1997, Fri The Daily Telegraph (London, Greater London, England) Newspapers.com

Blinded By The Sun by Stephen Poliakoff, Cottesloe Theatre, 31 August 1996

I wrote in my log:

Yes, we saw it before it opened. Yes, it was very good.

Press night was early the following week.

I was always partial to a bit of Poliakoff, so this will have felt like a bit of a birthday treat, opening at that time of year.

In fact, we had been due to go to the Proms on my actual birthday that year, but “Proms 7:30” is scribbled out in my diary for the preceding Wednesday. Not sure what went wrong there – probably we simply failed to get tickets (Claudio Abbado & The Berlin Phil doing Brahms – very popular).

But I digress.

Stellar cast for this one – as was the way back then with Poliakoff at the National or the RSC: Douglas Hodge and Frances de la Tour the biggest names; Graham Crowden & Hermione Norris also standout performers. Here is the Theatricalia entry for this production.

This is Lyn Gardner’s review from The Guardian:

Blinded Lyn Gardner Guardian 04 Sep 1996, Wed The Guardian (London, Greater London, England) Newspapers.com

Here is Michael Coveney’s Observer review:

Blinded Coveney Observer 08 Sep 1996, Sun The Observer (London, Greater London, England) Newspapers.com

Paul Taylor in the Independent also liked it a lot:

Blinded Paul Taylor Indy 05 Sep 1996, Thu The Independent (London, Greater London, England) Newspapers.com

The Birthday Party by Harold Pinter, Lyttelton Theatre, 25 June 1994

We do like a bit of Pinter. I was especially keen to see this one. I’d never seen the play performed live; this 1994 production was the first London production since the West End production in the 1960s. But I had seen the wonderful 1980s TV version with Pinter himself as Goldberg.

I’d also previously seen excerpts from the play performed live; not least by my own school mates in the late 1970’s when Dan O’Neill was selected for the role of Goldberg ahead of me because he could do a much better Goldberg accent than me. I don’t bear grudges but I do retain a sense of unjust cultural appropriation to this day, not least because I still cannot do a Goldberg-style accent. I played Aston in The Caretaker instead, but I digress.

Here is the Theatricalia entry for the version Janie and I saw in June 1994. My log says we thought it was very good. A young, then little-known Sam Mendes directed it. Bob Peck was Goldberg, Anton Lesser was Stanley. Dora Bryan and Trevor Peacock were Meg and Petey.

Here is a contemporaneous review from Irving Wardle in the Independent in 1994.

Below is the Michael Billington review: