The Judas Kiss by David Hare: Richmond Theatre

31^st October 2012

This production of the Judas Kiss by David Hare has now gone on tour from the Hampstead Theatre where it had been sold out.  I had tried in vain to get a ticket for a matinee a few weeks ago and waited till it opened in Richmond Theatre, Surrey.  A friend booked through the ATG box office which worked out well and we collected the tickets at Richmond Theatre.

I can recall seeing David Hare’s play “Plenty” at the National Theatre in London when it opened with Kate Nelligan in 1978.  Hare’s work is well known for being anti- establishment, though this play is rather more entertaining than a comment on politics.  We do get Bosie trying to get his cousin, George Wyndham an MP, to pull strings with the Attorney General and Asquith, the Home Secretary, but Oscar Wilde has realised that fate has given him no choice.  He does not want to ‘run like a fox’ and decides to enjoy his lobster and rice lunch, while a clock ticks away, chiming his lost moment to catch a boat train into exile.  The first half ends with a loud knock on the door. 

In the second half, Wilde, having served his prison sentence, joins Bosie in Naples.  He spends much of his time sitting, only rising for a final farewell with Bosie, and wondering out loud who is the real Judas.

There are some witty lines in this play.  Ones that I can remember include a reference to “a horizontal Uffizzi”, “a sunset with topaz and orpiment colours” and Bosie describing Ross as always being “the third party”.

The programme has some interesting essays included along with the credits and biographies.  A timeline of Oscar Wilde is provided covering the important events in his life and works.

Rupert Everett gives an outstanding representation of Oscar Wilde and as far as I could make out from listening there was no hammy acting.  (I heard his latest autiobiography on BBC Radio4 Book of the Week and had not liked it, giving up after two instalments.) Freddie Fox, who plays Bosie, is also believable as the son of a marquis.  

A friend had told me that there was quite a lot of full frontal nudity and I was able to detect this from the dialogue.  My friend at the performance commented during the interval (chocolate ice cream at one’s seat) that the nudity in the first half seemed to be a bit gratuitous.  I said “Wait till you see the second half!” 

I managed to enjoy the play without the graphic description or even any audio description.  There are enough sound and lighting cues to indicate time passing.  Apparently the clock in the first half has no hands, but it does chime. 

The three main characters were:

Robert Ross played by Cal Macaninch

Oscar Wilde played by Rupert Everett
Lord Alfred Douglas (Bosie) played by Freddie Fox

More information on the production can be found on the Theatre Royal Bath Productions website: http://www.theatreroyal.org.uk/page/3028/Main+House/437 as well as ATG Tickets http://www.atgtickets.com/shows/the-judas-kiss/

The Judas Kiss, with Rupert Everett, is scheduled to be in London's West End at Duke of York's Theatre from 9th January 2013 for a limited season.  More information can be found on www.thejudaskiss.co.uk or by calling ATG on 0844 871 7623
 

You may wish to check out an audio described performance but if you can’t make it, take a friend and get them to describe the bits of interest!

Good Grief by Keith Waterhouse: Richmond Theatre

10^th October 2012

Having been to the Richmond Theatre a few times, I went on my own.  I am on their mailing and access lists and a handy review of their autumn season suggested a few plays  of interest.  It was a sunny day on the Wednesday so I headed for Richmond on the London Overground and tapped my way to the Richmond Theatre, by Richmond Green. 

Good Grief by Keith Waterhouse was playing starring Penelope Keith and I bought a ticket in the front row of the stalls (neck stretchers for the sighted), an ideal spot for listening and occasional glimpse of the actors.  The front-of-house staff were very attentive, and I was shown the accessible facilities and then taken to my seat.  During the interval, the ticket desk wrote down the names of the actors.

There are only four speaking roles, that of June a recently widowed person coping with bereavement.  Her stepdaughter Pauline, a man (Douglas) who bought her late husband’s checked suit from an Oxfam shop and her husband’s colleague, Eric, who did not get the plum job at the newspaper. 

Memorial Service music plays in the background and as the lights dim and Parry’s “I was glad” strikes up (why?), the play starts.  June (Penelope Keith) has a one way conversation with Sam her dead husband while continuing to have dialogue with the other 3 characters.  

There are frequent scene changes which are cued with lighting, music and appropriate noises.  The scenes are mainly in June’s house and in the pub, where she orders pale ale.  Themes such as betrayal, self deception and adjusting to widowhood are littered with some comic scenes. 

I got lost at the end of the first act and asked my neighbour what happened.  I think that was the only occasion and if you go - it was Pauline who rang the bell and Douglas was on the stairs as the curtain came down. 

Those who like Penelope Keith in classy Surbiton roles may be disappointed as Ms Keith plays Northern English, the others being Home Counties.  It is funny though a bit clunky at times and I am not sure that all the monologue/dialogues were timed to perfection.  My neighbour described the end of the first half as a denouement or cliff hanger.  I am not sure but thought the meta-theatrical bit was good, at the end!

This play could be written for radio and I followed it with only the one question, which, by the way, was not really a cliff hanger.  It was enjoyable and may tighten up on tour. I laughed at the same time as the rest of the audience which means the play does not rely on too many visual cues. The music cues were varied and the scene changes appeared to be obvious enough. A knowledge of Fleet Street and references to El Vinos should be familiar enough to anyone with some awareness of journalism and the running of a newspaper title. 

The cast is:

Penelope Keith – June Pepper
Flora Montgomery - Pauline
Jonathon Firth - Eric
Christopher Ravenscroft – The Suit

Producer Theatre Royal Bath Productions.

Director Tom Littler.
 
The production is on tour at the following locations:

Mon, 15th October 2012 to Sat, 20th October 2012
Marlowe Theatre, Canterbury

Mon, 22nd October 2012 to Sat, 27th October 2012
Everyman Theatre, Cheltenham

Mon, 29th October 2012 to Sat, 3rd November 2012
Yvonne Arnaud Theatre, Guildford

Mon, 5th November 2012 to Sat, 10th November 2012
Arts Theatre, Cambridge

Mon, 12th November 2012 to Sat, 17th November 2012
Malvern Theatres, Malvern

(Source: http://www.uktw.co.uk/Tour/Play/Good-Grief/T0142180003/)

Volcano by Noel Coward: Richmond Theatre

Update: 10/6/2012

This production is on tour around southern England.  Details of performances and the tour can be found at the following website: http://www.kenwright.com/index.php?id=1283

Towns include Bath, Brighton, Bromley, Cambridge, Eastbourne, Oxford, Shrewsbury and Windsor.  These local theatres will have their own arrangements for access.  This production can be attended without the need for audio description, as much of the play can be followed with the context and some helpful reading of the programme beforehand if you're with sighted friends.  If on your own, this review ought to give you some idea of what to expect.

*** end of update


Being allowed to sit in a normal chair (without being raised) I have started making theatre visits again. I am booked on audio described performances at the National Theatre in the next few weeks, but started off with a visit to Richmond Theatre in Surrey to see Noel Coward's Volcano.

Richmond Green with Richmond Theatre in the background

Surrey, 6th June 2012

Noel Coward wrote Volcano in 1956 and this play has been ignored because “he was regarded as a crumbling colonial relic outmoded by a post-war Labour government and the rowdy commotions of the Angry Young Men back home”.  The Angry Young Men refers to writers such as John Osborne, Kingsley Amis, John Braine, Edward Bond and Alan Sillitoe among others.  A masterpiece it is not though very enjoyable nonetheless.

The run of the play has just started at Richmond Theatre.  I attended a matinee and as this was my 3^rd visit to this theatre I opted for the front row of the stalls since they offer the best sound angles (almost 180 degrees) and one’s legs can be outstretched. 

There are 7 spoken parts: 3 couples and a widow. One of the couples appears to be content and they are witty (the Craigies, Robin played by Robin Sebastian and Grizelda played by Finty Williams). The other couples are not happy and this is apparent in the dialogue.  Jenny Seagrove plays the widow Adela Shelley who owns a banana plantation in British Samoa (why?) and the threat is a smouldering volcano (not a High Wind in Jamaica) – a metaphor for the plot. Unhappy spouses gather at the terrace of the estate house.  The two couples are: Guy Littleton played by Jason Durr and his wife Melissa played (superbly) by Dawn Steele; Keith Danbury played by Tim Daish and his wife Ellen played by Perdita Avery.

I found I could work out the 4 female roles quite easily though the late arrival of Keith confused me.  There are phantom characters who fill in the back story and the dialogue is reasonably slick though a bit rough from time to time.  This is probably due to Coward’s writing. 

After a rather slow start (for a supposedly sexy scene of technical chastity) the plot brightens up with the arrival of the happy couple and gets intriguing with the arrival of Melissa.  The fur flies as two women spar and the rest look on.  The dialogue is of the much parodied type of “Beyond our Ken/Round the Horne” with:  I know; I know you know; I know you know I know type and probably half the audience laughs at this. 

The sound effects of the volcano are convincing though the lightning may have been overdone during the eruption.  Characters are lost and found (echoes of Hugh Paddick and the Binkie Huckaback character).

This was an enjoyable performance. My neighbours in the audience included one who knew a lot about Jenny Seagrove and another who mentioned, loudly, that Judi Dench’s daughter was in the show.  From the cast list I asked my companion if there was a Ms Williams on the list and sure enough Finty Williams fitted the bill.  Not having a television, I fail to recognise some actors unless they do a lot of radio work or I have heard them on the stage before.  

This play is relatively straightforward for a first “viewing” and I had only to ask one question during the performance of the “Who is that character ?” type.

TIP

Update your access requirements on a theatre data base. If you are noted as visually impaired there may be some special arrangements which often mean access to reductions, booking assistance, companion concessions and touch tours and/or audio described performances.  I am collecting some details of facilities for the Edinburgh Festivals and will post them from time to time.

Richmond Theatre: www.atgtickets.com/richmond

Culture on the London Overground

The London Overground has proved to be very useful in getting about in and around London.  Recently I was approached by one of the staff offering some assistance.  I had been wondering for a while about changing lines at Highbury and Islington so asked if Canonbury might be simpler.  London Overground radioed ahead and I was met at Canonbury and shown the lifts and footbridge.  From my point of “view” it is easier to change to the East London Line section at Canonbury.  You may have to be non-sighted and a bit of a transport nerd to appreciate this!  I am beginning to make sense of Whitechapel and have done the switch to Southern at West Croydon; you stay on the platform and listen.

There are close on 100 cultural sites and sights to visit and enjoy around the London Overground.* (http://www.tfl.gov.uk/corporate/media/newscentre/metro/20720.aspx)

Recently I have been to Richmond Theatre.  The theatre is on Richmond Green and is a short walk from the railway station which is well served by the District Line, Overground and SWT.  There is a side exit which avoids the steps otherwise the station approach is near a zebra crossing and if you cross the road and turn left any lane on the right hand side will take you to Richmond Green. 

Richmond Theatre (http://www.atgtickets.com/Richmond) has been lovingly restored and has a mixed rep (reputation and repertoire).  With matinees twice a week on Wednesday and Saturday it is well worth checking out.   The theatre has front stall seats which come with a warning “May have to look up”.  These seats are not the most sought after, though I found them suitable.  There is legroom and I enjoyed the proximity to the stage as my peripheral vision could make enough, though I had to use sunglasses with the glare of the lighting. 

Recently I went to see Keeler by Gill Adams.  This is a play about Christine Keeler and the role of Keeler was played by Alice Coulthard.  The part of Stephen Ward was played by Paul Nicholas, who also produced and directed the play.  I can just about remember the Profumo affair which erupted in 1963 and involved the usual kiss and tell stories, corruption and politics.  Knowing the back story there was no problem following the plot.  Stephen Ward was not a likeable character and few of the other roles are portrayed as such.  Keeler is hardly the “tart with a heart”  Some of the scene changes are captioned but the dialogue can differentiate between Cliveden, Dolphin Square and a coffee bar off the Edgware Road.

Another play I saw on 8^th October was Tartuffe by Moliere.  This production was performed by English Touring Theatre (ETT) and is based on an adaptation by Roger McGough from Liverpool. This production is performed in rhyming couplets and just approaches an unacceptable level of ham and pastiche and withdraws.  It is very well performed and though some of the jokes are “truly awful” there is enough of the Mel Brooks and dare I say “Carry on” comedy to carry the plot forward.  On hearing one of the actors playing the maid Dorine, I whispered “That sounds like Kirsty from The Archers”.  I was suitably silenced but on the way back home on the London Overground the programme was duly checked and I was vindicated.  Annabelle Dowler played Dorine and very well too.   I can’t put a face to some politicians and actors and not having a television makes one clueless with some of the soap stars.  The rest of the cast were very good including: Joseph Alessi, Eithne Browne, Simon Coates, Rebecca Lacey and Colin Tierney in the part of Tartuffe.  A very enjoyable production. 

Camden Arts Centre (www.camdenartscentre.org) is near Finchley Road and Frognal Station and is not far from Finchley Road Underground station.  Bus stops for 13, 113 and 82 are near.  I recently went to a talk on the exhibition of the work of Mathilde Rosier.  This was moderated by the writer Deborah Levy.  One of the works I liked was ‘Regard, don’t le jaune 2011’.  Rosier has an admiration of birds especially owls and much of her work involves triangles.  I can usually pick up geometrical shapes and though I can paint blur I can’t  see it. One of the installations involved a masked ball event.  On wearing a mask many people act in a disinhibited way. This may be familiar to some blind and partially sighted people who can’t pick up some non verbal communication!

On Thursday 6^th October I went to the opening of two exhibitions at Camden Arts Centre.  Haroon Mirza has an installation “I Saw Square Triangle Sine” In case you are sighted this is NOT a typo. I did not mean sign. (Those using a screenreader will know)   Haroon Mirza was introduced by Lisa Le Feuvre who is Head of Sculpture Studies at the Henry Moore Institute.  Haroon Mirza works with sound a lot and we were encouraged to add to the noise or was it sound of the installation. I would encourage any person with sight loss to try this out.  We have to triangulate with close attention to sound and noise.  I was able to chip in with a remark about noise attenuation which impressed the less geometrical in the crowd for a nanosecond.  I found Mirza’s work accessible which is more than I can say for ‘A World of Glass’ by Nathalie Djurberg with music by Hans Berg.  It must have been the sight of the whitestick as I could sense “concern” as I approached the “glass ware” arrayed on tables.  This part of the installation reminded me of the sculptures in the Wieliczka Salt Mine near Krakow in Poland which I visited in 1975.  There are animated films running in the background and though the sighted may enjoy this installation it somehow left me cold even though the work was explained.  

* (The website for sites/sights along the London Overground route is:

http://www.tfl.gov.uk/corporate/projectsandschemes/16224.aspx

However, be warned: the website is very visual, requiring you to click on icons.)