The List

A Nightwood Production of a play originally written in French by Jennifer Tremblay.

Allegra Fulton plays The Woman, who is obessessed by her list making and convinced that she has contributed to the death of her friend by not doing the task on her list. It is a fascinating portrait of a woman wrapped up in her image of herself and her concern that life conform to her picture of the ideal. Things must be done correctly, whether they make sense or not. So faced with a woman who is relaxed with herself and happy with her life - a life that does not conform to the woman's ideas of proper behaviour, she is initially uncomfortable, then condescending and finally charmed. But she still clings to her ideas of the proper way to do things, misses doing one thing and now is devastated by guilt.

The play is hard to watch and fascinating at the same time. We have all had moments of guilt about thoughts we have had and things we have or haven't done.
But most of us are able to move on and forget. The Woman is stuck.

Allegra Fulton delivers an outstanding performance - she is just one character but in her we see her friend her husband, her children and the whole community around her.

A Disappearing Number

Another film from National theatre Live, this one was broadcast from the Theatre Royal in Plymouth and brought back memories of his childhood for Keith. We had never heard of Complicite or Simon McBurney before, but will certainly keep an eye on them now.
The play is the story of the beauty of mathematics revealed through the story of mathematician Srinivasa Ramanujan (played by Shane Shambu) and his relationship with GH Hardy (David Annen) at Cambridge and the modern day love story of a math prof (Ruth Minnen played by Saskia Reeves) and a very modern futures trader named Al Cooper (Firdous Bamji).
It is a great story, told with terrific staging that uses video, sound, and movement to support and carry it forward. It never distracts from the story, but enhances it. the relationship between the past and the future that forms much of the mathematical discussion is demonstrated by lines of people, who seem to stretch forever. It is hard to believe that there were only eight actors in total.
Apparently this was the last performance - one hopes not vever, although that is how it sounded.
I went home and downloaded "A Mathematician's Apology" - the book in which GH Hardy tells the story of his friendship and work with Ramanujan.

Aida

COC's production was best summed up as "Aida the cleaning lady". (Thanks Jill)

The singing was lovely, although I am not really someone who can tell. The staging was visually interesting in a stark, drab, Chinese communist way. The production kept my interest throughout. But it was definitely lacking in Egyptian flavour.

The biggest problem was that the "Triumphal March" (the only piece of Aida that I recognize, Philistine that I am! ) was barely a moment in the production. It is hard to have a triumphal march into an office building conference room!

I would certainly go to the opera again, but I would still rather spend my money on the theatre!

Billy Twinkle - Requiem for A Golden Boy

Ronnie Burkett has done it again. This is the third of his plays that I have seen and I have loved them all. The plot in this one seemed superficial, but really was not. It was a reflection on a life and therefore not really exciting, as most lives are not. But it was funny and sad and in total a great perfomrance. the puppest are amazing, but the performance is Burkett. wow.

Fernando Krapp wrote me this letter

Not exactly an enticing title for a play, but in the end it was worth watching. The subtitle is "an attempt at the truth" so I guess you have to consider it from that perspective. Does Fernando Krapp (Ashley Wright) tell the truth all the time? He says so, but does he even know the truth?
Does Julia ( Ngozi Paul) really want to know the truth?
It is clear that The Count (Ryan Hollyman) does not tell the truth and crumbles when forced to face it.
And the Father (Walter Borden) prefers not to know the truth, but generally will tell it when challenged.
So many persectives on the subject - none of which are clear at the time, but occur on reflection. This to me makes it a play worth watching - better than the usual Canadian stage choice. I will watch for other work by Tankred Dorst.
Great staging, lighting and costumes.

The Clockmaker

Stepehn Massicotte (who also wrote The Oxford Roof Climber's Rebellion)has created a strange world that keeps you in suspense right to the end. What is Hell? what is heaven? and how can you tell?
Damien Atkins was superb as Monsieur Pierre, as were Clare Calnan as Frieda and Christian Goutsis as Herr Mann, but it was Kevin Bundy who stole the show as Adolphus. Like so many men who abuse their women, he was charming, vulnerable, weak and nasty, all at once. The woman in front of me could hardly contain herself - every time he promised that things would be different, I know she wanted to sneer "that's what they all say".
A strange little play, unsettling and surprising but worth watching.

Kiss Me Kate

Loosely based on the Taming of the Shrew, this musical manages to insert a load of great somgs - many of which I had no idea were from this play - Another Opeing, Wunderbar, Brush up Your Shakespeare, It's too Darn Hot ... the list goes on.
As a musical, it was great. Dated but great.
Juan Chioran was excellent, althouogh I still always think of Dracula every time I see him.