Around the time that we booked this play, I was writing the chapter of The Price of Fish, coincidentally Chapter Six, that explains the “shrinking world” theory known as six degrees of separation.
In theory, this play is all about that concept. In practice, I struggled at times to link this social comedy with the theory.
Without the futile search for intellectual insight, it was a reasonably fun evening at the theatre but a rather lightweight one. A super cast for this revival, but I’m not sure this play is worthy of a revival within 20 years, even though the world has/had changed between times.
I remember being astonished by Phillie’s energy, although she was very poorly by then, as she wanted to explore some other bits of the V&A before we left.
We weren’t as keen on this one as we had hoped to be, given the synopsis and the fact that the Almeida was going through a purple patch at that time.
I’m not sure that Patrick Hamilton works for us on the stage – indeed we have recently at the time of writing (May 2017) passed up an opportunity to see one of his in the forthcoming Hampstead Theatre run.
We’re becoming an increasingly picky pair these days. We tend to avoid booking much in that pre-Christmas period also, now, given the nightmare journeys that often ensue at that time of year.
It was of course an excellent production and very well acted. I think it was the play that didn’t quite do it for us. Janie and I like 1920’s and 1930’s styles generally, but strangely we don’t tend to like plays/the theatrical style of that era.
The reviews – mostly very good but not great – are mostly linked from the Almeida resource – here’s that link again.
For some strange reason we have no pictures from the 2009 Z/Yen seasonal event. I find it hard to believe that none were taken, yet there is no sign of anyone uploading a batch to the Z/Yen server, although that habit had become established by the end of 2009.
The headline picture “Z/Yen In Hats” was actually taken the previous year, but was the December 2009 picture in the Z/Yen calendar, so it will have to do.
Our friend and client (through Charity IT Leaders), Sarah Winmill, was CIO at the V&A at that time. She very kindly gave us a private viewing and “backstage look” at the highly popular Decode Exhibition which was “the thing” at the V&A that season.
The following video gives a good idea of the fascinating stuff on show.
Needless to say, many Z/Yen folk were as happy as Larry at that show. Even an arty technophobe like Janie found lots to enjoy there and all enjoyed the behind the scenes tour.
Then on to the Notting Hill Brasserie.
I do hope that someone who attended did take pictures and keep them – a stack of pictures from that dinner would be good. I remember it was a lively crowd and the private room there was a good venue for our do.
The seasonal song that year was our first (but not last) attempt at “ExtZy” to the tune of Branle D’Official (Ding Dong Merrily On High) – click here for a pdf or read below:
Trio Mediæval, the Bananarama of high quality mediaeval singing, bowled us over with this concert in late 2009. Three Scandanavian sopranos who sing beautifully and look like they are having fun doing so.
This is what we saw:
I have managed to find, on YouTube, a fragment of Trio Mediæval singing some of these fragments, albeit singing them somewhere other than the Wigmore Hall.
Janie and I were not yet daunted by the dread of going up west that close to Christmas (to be fair, Sunday evening is probably as tolerable as it gets), so we booked this concert for mid December and I’m so glad we did.
A very memorable and enjoyable evening; we also enjoyed a Monday off work the next day.
The more cynical reader/theatre lover might imagine this play/production having been designed for a Broadway transfer from the outset.
A two-handed, short play about the artist Mark Rothko, with an all (both) star cast and Michael Grandage directing.
Indeed, had it not been for the fact that the subject matter interests us both and that the stars in question (Alfred Molina and Eddie Redmayne) are both stars we like, we might have given this one a miss. We were falling out of love with the Donmar Warehouse by then.
But this was a very interesting play and it was superbly done, so we are very glad we went to see it at the very start of its transatlantic journey.
No on-line resource from the Donmar – they are far too busy arranging West End and Broadway transfers for that…
…update – I feel bad about having said that now that the Donmar has made its educational Study Packs available for download – here is the pack for Red.
It got mostly very good reviews, but not universally so:
Finally, here is an extracts package from Playbill from the Los Angeles transfer – sadly without Eddie Redmayne by then, but still you get to see Alfred Molina as Rothko:
I recall this one as being a bit Alan Aykbournish – a gang of thirty-somethings on retreat in the country for New Years eve. What could possibly go wrong?
What a grim evening of theatre this turned out to be.
The only ungrim thing about the evening was bumping into George Littlejohn and his good lady in the foyer before the show and then again in the interval. I have known George since 1994 when we met, for reasons that will only be explained to you if you click here, at the 1994 inaugural Accountancy Awards. Only click if you find pompous awards funny; don’t click if you take them seriously.
The play is about young upwardly mobile Viennese trainee doctors in the 1920’s, who should have been among the most happening people on earth were it not for their unfortunate juxtaposition with time and space (i.e. 1920’s Vienna) and their existential angst.
Janie and I hated the first half of the play and resolved not to stay for the second half. I’m not saying that it was either going to be members of the cast, or us, or a mixture of those two cohorts, but suicide was clearly on the cards during the second half. We made absolutely certain it wasn’t going to be us.
Unfortunately for George and his good lady, they had some sort of connection with someone involved in the production, so they stayed for the second half. We wished them luck as we waved them goodbye.
The irony of the bad straplining of that last piece will not be wasted on George Littlejohn, who was at one time the editor of Accountancy Age, no less, but has since managed to exceed even those giddy heights.
Despite their ordeal, sticking out the whole evening, I am pleasantly surprised, indeed delighted, to report that both the Littlejohns seem hale and hearty at the time of writing (January 2017). Janie and I ran into them both again at the Curzon Bloomsbury on New Year’s Day 2017 – click here, which triggered this memory and hence this write up.
