Ian Louis Harris

Instructions for Correct Assembly by Thomas Eccleshare, Royal Court Theatre, 7 April 2018

While the previous evening at the Finborough Theatre worked well for us in pretty much every respect…

White Guy On The Bus by Bruce Graham, Finborough Theatre, 6 April 2018

…this evening at the Royal Court – the opening night of Instructions for Correct Assembly – did not.

We arrived at the box office to the dissonant tones of a shouty man, who apparently did not understand what a member of staff was saying to him, tearing that poor member of staff off a strip. The evening went down hill from there.

We were told that the show was approximately 110 minutes without an interval – that is a worrying sign to me. It sometimes means that the play is so absorbing, the creatives feel it best not to break the spell with an interval. But more often it means, “best not to let the audience out for an interval, they might not come back”.

The bar was overcrowded and it took an age for us to get a couple of glasses of juice ahead of the show. The crowd seemed unusually down-beat for an opening night. This all gave me a sense of foreboding, which I did not share with Janie, other than to say, “I’m not sure I’m up for these heaving theatre bars any more”.

The audience did not get less irritating when we entered the theatre. A very tall couple entered the row in front of us – the female of the pair wearing a high-hair do reaching “fairly tall gentleman in a top hat” heights. “There’s lucky”, said Janie when they sat down a few seats to the right of us – at that juncture the seats in front of us were still free. In the end, though, in front of Janie, a very fidgety man. To the left of her, the type of people who forget that they are not in their own living room. Around the place, several mobile phones went off during the show.

Here is a link to the Royal Court resource for this play/production.

Within about five minutes, I guessed that this play/production would not please either of us. At around that moment, Janie turned to me and whispered, “I’m not going to like this one – I can tell”.

What can I say about this play/production?

I had high hopes for it when we booked it. We had found an earlier Thomas Eccleshare play, Heather, at the Bush Studio, fascinating, just a few month’s ago:

Heather by Thomas Eccleshare, Bush Studio, 11 November 2017

But while that one was an innovative, quirky hit for us, Instructions for Correct Assembly kept missing the spot.

A couple who lost their only child in his early adulthood, try to build and train a robotic replacement.

There were some excellent lines. Eccleshare can write. The jokes when the couple did (or didn’t) turn the “opinionated dial” on the robot’s control panel were sometimes funny, although it was basically variants of the same joke several times over.

There were some excellent performers on show – their talents underused and misused on the whole. The only performance of note was Brian Vernel as the robot/druggie son.

There were some excellent illusions to assist with the creepiness of the robotic doppelganger idea – the production team clearly wanted us to experience the uncanny valley, as indeed the neighbour/friend characters get freaked out in the play.

Why the non-robotic characters were made to dance robotically during some of the scene changes is anybody’s guess.

The whole thing added up to very little in our view – a fascinating subject but a very poor play. The comedy of trying to assemble a robot much like an Ikea flat pack bed felt trite and inconsequential, while the tragedy that had befallen the family sat uncomfortably (indeed melodramatically) with the comedic element.

Below is a trailer/interview for this play/.production:

Perhaps we wouldn’t even have bothered to turn up had we watched that video in advance.

Once this show is reviewed, those reviews and other resources will be available through the search term links you can find if you click here. My guess is that those involved in the production and their loved ones would do best by not looking.

As we were leaving the auditorium, a small group of nice, older people were struggling because one of the women’s coats had got caught in the chair mechanism. We tried to help, but agreed in the end that they should wait for some assistance once the place emptied and the lights went up. The man, whom I recognised as a regular, said to me, with a twinkle in his eye, “we need the instruction manual for the chair”. Sadly, that was probably the most entertaining line of the evening.

Out in the lobby, the same shouty man from our arrival was tearing some other poor member of staff off a strip about some issue or another, this time about the exits. It was so bad, Janie remarked afterwards that she suspects that shouty man has a serious brain disorder. The irony of that notion – both with the subject matter of the play and the way we felt about the evening we’d just experienced, was not wasted on me.

Instructions for Correct Assembly is one to avoid.

White Guy On The Bus by Bruce Graham, Finborough Theatre, 6 April 2018

We’ve mostly been very impressed by the stuff we’ve seen at the Finborough Theatre. We started trying the Finborough less than a year ago and this piece, White Guy On The Bus, was our tenth visit in that short time. Again we were most impressed.

We thought we must have seen US playwright Bruce Graham’s work before, until we realised that we were both probably making an amalgam of Bruce Norris and James Graham. The best of those two would make a pretty formidable amalgam as it happens and Bruce Graham’s piece, while perhaps lacking some of the flair of either of his semi-namesakes, was an excellent piece of writing.

Add to that Finborough’s ability to assemble a quality team of actors and creatives to pull together a low budget production that punches well above its weight…

…this was a very good evening of fringe theatre.

The themes of racial tensions, social inequality and political correctness seemed absolutely pertinent for our times. In truth the play is a bit of a slow starter, but by the interval we found ourselves hooked on a thriller with lots of issues and by the end we felt thoroughly entertained and thought-provoked. Two hours well spent.

Click here for a link to the Finborough on-line resource for this play/production. It includes some press quotes from the original production(s) of this piece in the USA – the Finborough production is a European premier.

Below is a trailer from one of the US productions – Curious Theatre Company:

Below is an extract from another of the US productions – Northlight Theatre – which gives a better feel for how the play comes across on a small stage:

Click here for a link to reviews and other stuff connected with the Finborough production, which has mostly been very well received so far.

Other memorable moments from the evening:

as Janie and I we were walking up the stairs to the theatre, the man in front of me turned around and said “hello Ian” – it was Kim Ridge. I wondered out loud whether Kim and Catherine were regulars at the Finborough, but it turned out that they were there quite by happenstance having decided to give the place a try for the first time;
after the show, “The Ridges” disappeared rapidly, but Janie and I stuck around and chatted briefly with a very nice Canadian lady who had been sitting next to us. It turns out she goes to many of the fringe places we go to – I didn’t recognise her face but suspect we’ll run into her again. Next to her was a really pleasant young woman who also chatted with us about the play. It was that sort of theatre experience for us – we wanted to talk about the issues afterwards;
a yummy meal in Noddyland taken away from Mohsen’s – Janie and I continued to mull the issues over dinner.

A really good evening.

Death Of A Hunter by Rolf Hochhuth, Finborough Theatre, 1 April 2018

After our wonderful experience at the Almeida the night before seeing Summer And Smoke…

Summer And Smoke by Tennessee Williams, Almeida Theatre, 31 March 2018

…we thought Death Of A Hunter might be a bit of an anti-climax.

In fact, it rounded off our weekend of theatre rather well. Naturally this is not in the same production league as the Almeida’s production. But this interesting one hour play about the last hour of Ernest Hemmingway’s life, superbly acted by Edmund Dehn, is basically everything we hope for when we go to small scale theatre such as the Finborough.

Here is a link to the Finborough’s resource on this production.

Below is a trailer:

We went to the first night, so no formal reviews yet. Previews and (to the extent that they will appear) reviews can be/will be found through this link – click here.

We rated this piece and the performance very highly. If you are available one of the nights it is showing, we’d recommend that you grab a ticket now before it sells out.

Summer And Smoke by Tennessee Williams, Almeida Theatre, 31 March 2018

Bloomin’ ‘eck this was good.

Janie and I both really love Tennessee Williams but neither of us are very keen to see revivals of plays if we have seen a decent production before.

So this production of Summer And Smoke, a play that neither of us had seen before, at one of our favourite places, The Almeida, sounded like the hottest of hot tickets to our taste.

So much so, it would have been understandable had our massively high expectations not been met…but we needn’t have worried – this production most certainly did the business for us.

Here is a link to the Almeida’s resource on this one.

Below is the trailer:

I’m not too sure why this play is so rarely performed, other than the fact that I think it does need some sort of imaginative staging to come alive – achieved wonderfully by Rebecca Frecknall and her team in Rebecca’s first major gig as a Director.

Frecknall is a star director in the making and Patsy Ferran is similarly a star performer breaking through just now.

We saw Patsy Ferran only a few week’s ago and were hugely impressed with her at the Royal Court in My Mum’s A Twat – click here or below:

My Mum’s A Twat by Anoushka Warden, Royal Court Theatre Upstairs, 13 January 2018

Below is a slightly longer vid with opening night reflections from the cast and crew:

This production has had absolutely rave reviews on the whole – click here for a link that finds most of them if the headlines on the Almeida site aren’t enough for you.

Doubtless we’ll remember this as one of the highlights of our theatre-going year.

Fading: The Hour Is At Hand, The Gesualdo Six, St John’s Smith Square, 28 March 2018

I’d heard a lot about The Gesualdo Six – they are currently the hottest boy band of the early music vocal consort world – so I have been keen to see them for some time.

This early evening concert at St John’s Smith Square slot didn’t suit Janie on a Wednesday, so I made one of those unusual but no longer rare concert bookings just for me.

What a super short concert it was.

SJSS had been turned around for this concert, so the audience faces the organ, not the massive, tired-looking stage – something I know they’d been talking/thinking about, but until now I had not yet experienced it. Janie and I have thought for some time that this configuration would work better for soloists and small ensembles.

It does work better.

I got in early to bagsy a good seat and took a picture. You can see my coat draped across a front row seat.

Nice touch with the candles.

The hall soon filled up – several hundred people I would estimate – the largest audience I have seen at SJSS for a while. The idea of doing an early evening concert of this kind ahead of the main event certainly worked for this evening – perhaps also linked to the fact that this concert was part of the Holy Week Festival.

Here is a link to the SJSS web page for the concert that night – click here.

I’ve scraped that page to here, just in case the above link stops working.

The people sitting to the left of me clearly knew one of the singers, Guy James, who chatted with them briefly before the gig. The younger woman in that party asked him to throw in a pop song or two – but he shyly demurred, saying that he’d love to but it would probably get him into trouble with the others. Not very rock’n’roll.

I did and do have an arithmetical problem with this group. When I looked at the picture on their website – click here –and/ or the above SJSS web page and/or indeed the programme for the evening, I kept counting seven people in The Gesualdo Six.

I had a similar problem with the Jackson Five the previous week at The Ladbroke Arms, as reported in my piece – click here or below:

Dinner And Music Biz Chat With Simon Jacobs, Ladbroke Arms, 20 March 2018

A knowledgeable-sounding fellow sat next to me about five minutes before the start of the Gesualdo Six concert – he said that he had seen some of the performers before (e.g. Joseph Wicks recently) but never the entire ensemble together and was very excited to be getting to see them.

I mentioned my cardinal number problem – i.e. the matter of seven people comprising The Gesualdo Six, hoping for some insight from this knowledgeable fellow.

“I know, yes…tough isn’t it,” was that gentleman’s unhelpful reply.

But from now it’s all good news.

There were only six people in The Gesualdo Six on the night – which put me at my ease again.

The music was absolutely lovely.

Indeed, the opening number, Tallis’s Te Lucis Ante Terminum, was worth the price of admission alone (as sports commentators would tend to put it).

I don’t normally go for modern choral music mixed in with early music, but I was much taken by the several lullabies by Veljo Tormis, which contrasted nicely with the Byrd lullaby.

I also enjoyed Owain Park’s own piece, Phos Hilaron. I cannot honestly claim to have got much out of Joanna Marsh’s pieces, though.

But basically I loved the gig – they are a wonderful ensemble – so when Owain Park announced that we could buy pre-release copies (due out Easter Weekend) of the group’s debut album on exit, I was up there with my £12 like a shot.

You can order/buy the album from all the usual outlets or direct from the band’s site by clicking below:

English Motets (2018)

Below is a video from an unspecified place of The Gesualdo Six singing some Tallis – a piece from the album but not from the gig.

Likewise, the following piece of Thomas Tomkins (seen below in Ely Cathedral) is on the album but wasn’t on show at the gig:

They only sang one piece of Gesualdo on the night – not the following one, but I can’t let you sample The Gesualdo Six without Gesualdo himself:

Finally, below is a little documentary piece about the group from SJSS itself two years ago. They look unfeasibly young in the vid – they still look young but not THAT young. Two years is a long time for a boy band. Another couple of years on the road and they might look like The Rolling Stones by 2020.

All of this rather puts my own attempt at some seasonal, medieval-style performance into the shade:

Canticle For Lauds On The Third Day Of Easter: Deus Intellegit, Litorean Order, c1300

Dinner In Noddyland With DJ, Lana, Linda & Maurice, 24 March 2018

A long-planned dinner at the Noddyland house with DJ, Lana, Linda and Maurice.

Janie had been so hoping for some decent weather so that we could take drinks and nibbles in the garden before dinner, she wasn’t going to let single figure temperatures and dank weather stop that aspect of the project.

So we all wrapped up warm and went outside for drinks with nibbles of Kilcolman (West Cork) smoked salmon and tempura prawns.

Perhaps it was the need to try and stay warm that ensured that the conversation was lively and animated from the word go out there.

I hope everyone has now recovered from the cold.

The main course, wild pacific salmon with new potatoes and salad was also a hit; mostly served with a very fruity Vouvray upon which Janie has settled of late.

The conversation got yet livelier over cheese and a very fine bottle of vintage port.

It was one of those evenings that just worked. Although several of the people didn’t know each other, everyone seemed to get on really well and really easily.

A very enjoyable evening of great food, good wines and superb conversation amongst friends.

Dinner And Music Biz Chat With Simon Jacobs, Ladbroke Arms, 20 March 2018

Simon Jacobs very kindly took time out from his hectic promotion schedule to meet me for dinner on Tuesday. Simon’s new single, Sore, came out three days later – today at the time of writing.

You can hear the song and watch the vid on the embedded YouTube below.

Once you decide that you want to own Sore, you can buy it at all the usual places or, to save yourself a few pence, directly from Simon’s site – click here:

The first thing I feel bound to say about our evening on Tuesday is that the song Sore is most certainly not the story of Simon’s evening with me. Neither of us drank excessively, although we did share a bottle of rather jolly Alsatian Riesling, nor did we dance on any tables in a shirtless stylee.

Of course, what Simon did after we parted company on Holland Park Avenue is a matter solely for him, but I can report that the song and video were already in the can by Tuesday, so if Simon’s lyric is reportage, it is reportage of some earlier evening. Come to think of it, it could be reportage of a great many evenings at Keele “back in the day”. but that is an entirely different matter.

Anyway, we dined at the Ladbroke Arms, which had impressed me when I met Kristof there for a drink just before Christmas. I had resolved then to try the food some day soon – so when Simon suggested that I find a gastro-pub near me for our meet up this time, it seemed an ideal choice.

Click picture for link to pub’s site – photo borrowed from that site

The staff took my request for a relatively quiet, corner table literally, so we were in the snug back area in the corner, which actually is a nice quiet spot for a chat.

Simon and I discussed all manner of things, but clearly at the forefront of Simon’s mind was his music career, past and present.

“When I was very young, I briefly joined the Jackson 5”, said Simon.

Now I have known Simon since we were both 15 or so and this was the first I had heard of this matter.

“I know it sounds strange,” said Simon, “because my name isn’t Jackson…”

“…also strange because I don’t recall one of the Jackson 5 being named Simon,” I chimed in, somewhat suspiciously.

“OK, name them all then,” said Simon, confidently.

“Michael, obviously”, I said tentatively, “Tito, Marlon…um…Jermaine…um…um…”

…”and Simon”, said Simon, who then embarked on quite a long story – 45 seconds to a minute – more than my full attention span anyhow – in which I thought he explained that, as a nipper, he imagined himself to have been asked to join his heroes in the Jackson 5 and managed to convince some naive fellow nippers in the park that Simon was now a Jackson.

“It is morally reprehensible to lie about one’s singing career”, I thought quietly to myself, “but if merely a pre-teen fantasy lived out in the park one day, I suppose it is just about forgivable after all these years”.

But when Simon sent me a kind note the following day, he included this factoid:

PS: Marlon, Tito, Jermaine, Simon, Michael… and when Jermaine stayed with Motown and the rest of us went to CBS, little brother Randy joined… it’s all on Wikipedia…

So is it true? Was Simon really a member of the Jackson 5 back then? Or was Simon guilty of generating a bit of early 1970s fake news, which for some reason (presumably to bolster his current musical career) Simon still seeks to perpetuate?

I decided that I would have to investigate this matter for myself.

My first ground for suspicion was that Simon’s surname is Jacobs, not Jackson, so how could Simon Jacobs possibly be “a Jackson”?

Well, actually, Wikipedia puts that matter into clear perspective. The original line up, known as The Jackson Brothers, included “childhood buddies Reynaud Jones and Milford Hite playing keyboards and drums, respectively”.

OK, so it was not unprecedented for a non-Jackson to join the Jacksons. But the Wikipedia entry for that group clearly mentions a brother named Jackie – the one whose name had slipped my mind (and presumably Simon’s too) – who was in the Jackson 5 throughout. So could the Jackson 5 ever have comprised six people?

That’s not quite as daft an idea as it sounds – we all know about the lesser-known fifth Beatle and the lesser-known fourth and fifth Marx Brothers. But the name “Jackson 5” does seem, at least to me, to have a cardinal-numeric requirement to it. When Jermaine left, Randy stepped in to keep the arithmetic pure to the eponymous value “5”.

Yet, even though I could find no textual evidence that the Jackson 5 sometimes exceeded five people, I did find, also through Wikipedia, the following fascinating piece of photographic evidence:

Now sums is not necessarily what I do best, but I am pretty sure that there are six people in that picture which is clearly labelled “Jackson 5 1974” on Wikimedia Commons.

So perhaps Simon really was in the Jackson 5 at one time. I must say that, by the time I got to Wikipedia, all mentions of Simon were omitted from the Jackson 5 entry, but perhaps that is simply some sort of spoiling tactic by Simon’s competitors, who know he has a single coming out today.

So does Simon sound like a former member of the Jackson 5? Does Simon look like a former member of the Jackson 5? I am hopeless at judging these things and am open-minded, so I’m sitting well and truly on the fence for this one.

You, dear reader, should judge for yourself, by listening to Simon’s new single, watching the video and possibly then buying the single, e.g. directly from Simon’s site – click here:

Anyway, as usual, it had been a fun evening chewing the fat with Simon. Big tick in the box for the Ladbroke Arms food and service too.

And to reiterate, I was not sore the next morning…at least not until after I had played two hours of tennis from 8:00 a.m. straight through to 10:00. Then I was very sore.

Misty by Arinzé Kene, Bush Theatre, 17 March 2018

Janie and I both found this a very entertaining and unusual piece. A one man show written and performed by Arinzé Kene.

Friends who have seen my own little Mithras performance from earlier in the week – click here or below…

The London Mithraeum With The Gresham Society, 15 March 2018

…might expect Misty to be a sort-of jazz standards musical. You’d be so wrong.

So is Misty a play, a rap musical, an installation performance or what? It is sort-of all of those things.

Click here for a link to the Bush resource on this piece/production.

Below is a trailer showing one of the rap numbers from the start of the piece:

Below is a short “meet the writer” interview:

Kene explains that it is a piece about trying to write such a piece…

…which I suppose makes it a post-modern performance piece.

There’s some weird imagery too, with some orange balloon motifs acting as a recurring theme.

I don’t think this piece is aimed at the traditional theatre audience, but we were captivated by it.

We liked the poetry of Arinzé Kene’s language, we liked the music – both of the musicians, Adrian McLeod and Shiloh Coke (you can see them in the City Creature vid above) were excellent – I was especially impressed by Shiloh Coke, a young multi-instrumentalist – she should go far.

Arinzé Kene is a very talented rapper, along with being a talented writer and actor/performer.

At the time of writing Misty has only just opened, so you should be able to get to see it over the next few weeks – highly recommended as an unusual but entertaining theatrical, musical, image-filled evening.

The London Mithraeum With The Gresham Society, 15 March 2018

Tim Connell is never one to miss an opportunity to organise a Gresham Society visit to a newly opened historic site; this visit to the London Mithraeum was no exception.

The London Mithraeum is one of the most substantial archaeological finds relating to Roman Britain. It was found on Walbrook soon after the Second World War and was moved away from its original site, bang slap in the middle of the City of London, to allow construction, including a permanent home for the relic more or less where it was originally located.

The building is now the Bloomberg Space, with the London Mithraeum in the basement. It opened to the public in November 2017. Anyone can visit this fascinating site and it is free of charge – but it is wise to book to ensure that you get your chosen time/date.

Click here for a link to the London Mithraeum/Bloomberg Space website – including how to book.

Below is an excellent explanatory vid:

Click here for a Guardian piece by Maev Kennedy from the opening of the London Mithraeum in its new (i.e. old) home.

Enough of all that generic stuff. Here’s what happened on the Gresham Society visit.

About 25 of us gathered, which made for a pleasant gathering of the clan to add to the joys of seeing the relic. When I say “gathering of the clan”, I of course mean The Gresham Society clan and not followers of Mithras. No, no, no…

…although, when we were in the viewing gallery of the temple itself, enjoying the Bloomberg Space multi-sensory experience, I asked a couple of people whether they were starting to believe in the mysteries of Mithras?

Professor Cox answered, “not yet”…

…while Barbara Anderson replied, “not telling”.

So I detect some signs of hope for a Mithras revival.

Professor Connell mused that there must have been music involved in the initiation rites, at which point I offered to go home and get my baroq-ulele, but Tim very kindly implored me to stay, saying that he didn’t want me to miss any of the tour, which was so very thoughtful of him.

But Tim’s thought about the music for the initiation rites did get me thinking.

Anyway, after the tour, most of the party removed to a nearby hostelry for some suitable libations. I must leave it to others to report on that vital aspect of the outing, as I needed to return to Z/Yen Central to finish off some work that day.

But once I had finished work the next day, I started some in depth research into the musical side of the initiation rites of Mithraism.

It seems that the most terrifying initiation rite of them all was a requirement for the initiate to sing the Mithras Initiation Song, without hesitation, repetition, deviation or preparation.

We’re talking “one take” here.

Anyway, I did indeed manage to find some fragments of Mithraic music and text, which enabled me to translate the arcane Latin words of the Mithras Initiation Song into comprehensible English and modulate the rather dull, plain tune from the Hypolydian mode into something a little more familiar to the modern ear.

It is said that this particular initiation rite was actually more terrifying for the observers than it was for the initiate. I’ll let you, dear reader, be the judge of that.

For the Gresham academics, I would like to explain far more about my multifarious sources and the enormous trove of truly wonderful original materials about Mithraism I have uncovered.

Unfortunately, however, I realised, once I had performed the initiation song, that I have inadvertently initiated myself into the cult of Mithras at the very highest level…

…and that only initiates may be privy to the relics of the Mysteries of Mithras that I have uncovered.

Naturally, scholars who are keen enough to know about my sources may apply for initiation by singing the Mithras Initiation Song. The English language lyrics are set out below.

Mithras Initiation Song

Look at me,

I’m as cryptic as a Roman Mystery;

As I join in initiation rites,

I can’t understand,

I get Mithras,

And I’m joining that band.

Mask my eyes,

And a thousand stars appear to fill the skies,

Or it might be the sound of slaughtering bulls,

That music I hear,

I get Mithras,

My joining is near.

Can’t you see that you’re leading me in,

But that’s just what I want you to do;

Don’t you notice how much I need that faith,

That’s why I’m following you…(and you know that it’s true).

On my own,

I would wander through Londinium alone;

Never knowing my Persian from my proto Christianity,

I get Mithras, and Mithras has me;

Yes Mithras, is the one god for me.

Checkpoint Chana by Jeff Page, Finborough Theatre, 11 March 2018

After our excellent experience seeing Returning To Haifa on Friday…

Returning To Haifa by Ghassan Kanafani, Finborough Theatre, 9 March 2018

…we were really looking forward to the other piece running concurrently at the Finborough, Checkpoint Chana, but we found it comparatively disappointing.

The topic is interesting – an academic/poet accused of making anti-Semitic references in one of her poems. But as a play it really didn’t work. The poet is also meant to be a soak – so there’s a lot of soak-laden drama involved, which tends to leave us cold.

There’s a lot of telling rather than showing in this play – which tilts it towards melodrama.

I thought it was almost a good short play, but could have done with a heavy prune/edit/revision. Janie really didn’t like it and thought the whole thing beyond redemption.

Here is a link to the Finborough resource on this play/production.

A search term that finds the reviews – mostly middling – can be found here.

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: