MALS London 09ers,
Miss you already!! As I’m putting the finishing touches on the Blog, I’d like to ask for your help. I would like to include some other peoples photos and perspectives of the trip, so if you have any of the following, please email them to me as soon as possible (LermSlice@gmail.com).
-PHOTOS!!!
-Videos
-Entries/Reactions to Plays
-Feedback on what’s up there already
Thanks for everything, and I can’t say enough how great the past few weeks were. Keep in touch!!
-Dan
Class:
The Big Day has arrived. We all had to perform our Shakespeare monologues while Mr. Jonathan Cullen, a fantastic professional actor, critiqued us individually. It is hard to capture everyone’s performances in just a few words, but they were memorable to say the least. We got some great advice from Mr. Cullen on both our individual speeches and acting in general. My favorite advice of his: actingis about knowing what is going to happen and tricking yourself into thinking that you don’t (paraphrased). The biggest problem for us seemed to be our stage fright, which both Professor Clum and Jonathan gave us some good mental advice on. There are, of course, alternative solutions to this problem.
Daphne performing her monologue with EVERYONE WATCHING!!!
We technically discussed tonight’s show during yesterday’s class, but I’ll put it here for simplicity’s sake. Stephen Sondheim: if you don’t know who he is, you should. He’s a pretty big deal, and this is one of his many hit shows (Sweeney Todd, Sunday in the Park with George, Company, Into the Woods, etc.) revitalized for the West End.
A Little Night Music was based on the movie Smiles of a Summer Night (Ingmar Bergman), and focuses on the role that sex plays in love. Sounds like it is going to be an interesting night.
Show:
A Little Night Music at The Garrick Theater
After a little delicious dinner and a little wine at The Forge, we headed to the nearby Garrick Theater for a little night music, as part of Sondheim’s classic. The music was fantastic and the play was surprisingly funny, highlighted by the witty Madame Armfeldt (‘Solitaire is the only thing in life which demands absolute honesty’). “A Weekend in the Country,” the final song in Act I, and “Every Day a Little Death” were two of my favorites, and were telling displays of Sondheim’s musical acumen.
After the show, we took a collective exhale, and said our goodbyes. It’s been a great run.
Quote Idea of the Day: Neil Simon didn’t count the number of laughs he got during a performance, he counted the coughs.
Class: We finally got the chance to discuss the shows of the past three nights. Surprisingly, the discussion was dominated by Aunt Dan and Lemon. While it received mixed reviews from our class, it certainly provoked lengthy discussion about its characters, message, and presentation. The supporters of the play were excited by the stunning performance of Jane Horrocks (Lemon) and the quick scene changes that gave the play an interesting progression. The people who did not like it claimed some of the dialogue carried on for too long, and that Shawn was beating us over the head with his idea that compassion is an essential human trait.
The Stafford Hotel near St. James Square. Classy.
(Just in case you were wondering, I really enjoyed the play, and we really got a good view of Jane Horrocks’ creepy character from our third row seats.)
We then discussed tonight’s play, When the Rain Stops Falling. A part of it is based on an Aboriginal Australian myth called “The Last Wave.” The basic idea behind it is that there will one day come a cleansing flood to the world. We got a refresher on mythology, namely that the God Saturn devoured his children. This will relate to the play tonight, hopefully not in the literal sense.
Show:
When the Rain Stops Falling at The Almeida Theater
Wow.
We ventured up to swanky Islington for tonight’s show, which duly called for the unleashing of my fashionable new hat (Portabello Road, 4 quid).
My jazzy new hat.
The play was written in 2008 by Australian playwright Andrew Bovell, and it happened to be one of the favorites for many people on our trip. This was with good reason, as I could not imagine a better production of it. The script poses many technical issues — indicating different places and times (ranging from Australia to London and the 1960s to the 2030s), the persistence of rain, and the continuous presentation of the same character at different points in his/her life. These were all handled beautifully, using a fairly minimalist approach. This demonstrated the power of leaving details to the imagination, and it worked.
Spotted among the crowd tonight were various actors from British TV and theater, as the Almeida’s comfortable layout and trendy attached restaurant seemed to attract a good crowd. We will get to work with one of the actors in the show (Jonathan Cullen) tomorrow during class.
Quote of the Day: “If I wanted to send a message, I would have used Western Union.” – Ernest Hemingway
Tour:
We were able to book one of the most exclusive tourguides around for Hampton Court, the site of Henry VIII’s extravagant palace and gardens. The grounds were impressive, the audio guides were not, but I found the most fascinating thing to be the Great Kitchens. These were set up in assembly line fashion in order to handle the massive amounts of food that came through here every year, and the authentic beef smell was recreated for the full effect.
Three Gems
The world's largest grapevine. Planted back in the 18th century, all of these vines come from one central stalk.
Henry VIII's apartment.
Show:
Aunt Dan and Lemon at the Royal Court
We sat in the third row at this posh theater for a performance of one of the more shocking performances of our trip. ‘Shocking?’, you may ask. Yes, in many ways. First of all, the style was very modern and unconventional. There were no pauses for set changes, and the story would jump from time to time and from one place to another instantaneously. The main character played herself at age five (or six or seven or eight), as well as her mid 40s without a costume change. Additionally, the graphic sex and murder scene did not leave much to the imagination. In America, I imagine there are some laws against showing that much in public. And finally, Lemon’s appraisal of and fascination with the Nazis, especially during the final scene, was shocking. From the third row, we could really see the crazed look in her eyes and the manic hysteria with which she expressed her horrifying points. Overall, the show was very well done and proved a nice contrast with the more traditional shows we have seen. (Important note- this play was written by Wallace Shawn, who made his film debut as Diane Keaton’s ex-husband in Woody Allen’s Manhattan).
Quote of the day – “Henry VIII, consumer of women and food.” -Audio tour guide from Hampton House
Class:
We shared our opinions on Phedre and began discussing Waiting for Godot. While the philosophical beliefs behind existentialism are beyond the scope of our study, we did acknowledge that they are centered on the notion of a God-less world. Beckett’s work specifically questions the reason we talk and our fear of silence, effectively employing long pauses at crucial junctures. We discussed Vladamir and Estragon’s characters, and Professor Clum called Godot the most influential play of the 20th century.
We then practiced our Shakespeare monologues with some direction, and learned the following:
-acting Shakespeare is difficult
-each time we say something, we should act as if we’ve never said it before
-act piece by piece, movement by movement
-our bodies shouldn’t do anything unless there’s a reason to do it
This new knowledge in hand, we will be ready to ace our monologues on Friday.
Show:
Waiting for Godot at the Royal Haymarket
Upon entering the Royal Haymarket Theater, I was rudely introduced to the fact that it is unusually expensive (just as Professor Clum had warned) — the program for the show was 4 pounds, instead of the standard 3. I chose, however, not to let this upset too much, as I was about to see Patrick Stewart and Ian McKellan LIVE.
Their performances lived up to our high expectations. McKellan’s Estragon was hilarious and physically embodied the role of an aging man wasting away. Stewart played the more emotionally present Vladamir, and did a great job demonstrating his frustration with the monotonous insignificance that their lives had become. Additionally, we got to see firsthand the effect of Beckett’s planned pauses, and they seemed to have exactly the intended effect– to make the audience uncomfortable. Upon the play’s dreary conclusion, it received the most deafening applause of any show we’ve seen, and many of us took a the rest of the night alone to reflect.
Quote of the day: (Silence) – Samuel Beckett
Class:
We discussed the next three plays we will be seeing in class today, but for simplicity’s sake, I will only include one for each of the next few days.
Jean Racine’s Phedre was the main play on the agenda. Professor Clum filled us in on some of the mythology behind the story, which the audience seeing the play in the 1600s would have been experts on. The most important point was that Hippolytus, a main character in the play, is the son of Theseus and Hippolyta (who are married at the end of A Midsummer Night’s Dream).
Overall, the production we will be seeing is going to be very different than the production that was put on in the 1600s. First of all, the play is originally in French, and Racine wrote in a style called Alexandrian Hexameter. This style was very formal and virtually impossible to translate, so it was not preserved in the translation. Furthermore, the type of acting in this play was entirely different back then, as actors assumed certain poses for specific emotions that were learned from a textbook. This is certainly not what acting is today. Finally, the play would have been done in a series of entertainment pieces lasting a full day, as opposed to the two hour straight production that we will be seeing.
Show:
Phedre at the Lyttelton Theater
Without a doubt, this was a tragedy in the strictest sense. From the moment she steps at stage, Helen Mirren (Phedre) effectively presents a character who is an emotional trainwreck, and powerful performances from the supporting cast make for an extremely dramatic conclusion. Stanley Townsend (Theseus) has a deep, booming voice fit for a king, and from the moment he steps on stage, the drama seems to really pick up. The heated confrontation between he and Dominic Cooper (Hippolytus) might well be the highlight of the show.
Visually, the set was simple and effective, allowing for interesting exits and set interactions. The water spout, entrance ramp, and ledge all were important parts of the action, and I can’t imagine a better set for this play. Overall, the production really brought the script to life, and most of us seemed to agree that it was a much more enjoyable viewing experience than a read.
Quote of the Day:
Nate (arguing over 26 pound tab): If you don’t fix this, I’m going to give you 20 pounds and leave.
Restaurant owner: You’ll never make it to the door.
A busy weekend for some of us, a relaxing one for others.
The group outside the Lamb & Flag.
Punting boats at Cambridge (from June).
Statue at Cambridge (from June).
Fish, Chips, and Mushy peas... classic (pic from June).
Intense Pub arm-wrestling at the Lamb & Flag.
Leila was able to get Jude Law's autograph. He is currently playing "Hamlet" in the West End, and apparently has a very lackluster signature.
The most British sign I was able to find all week. From "Waitrose," our local grocery store.
Quote of the day:
Kim: I’ve just… never listened to that much techno in my life.
Friday was a veryyyyy busy day for us, so busy that I had to spend two straight days blogging to create this very post. So I hope it is appreciated.
Class:
We recapped Madam Butterfly, and decided that, despite its shortcomings as a story (nothing happens in Act II !!!), it was a visually stunning production. The use of Bunraku puppetry, the intricate costumes, and the visionary staging made it a more than worthwhile experience. The most memorable visual images included Butterfly’s entrance, in which she was the only person on the massive stage, and her death scene, in which she is kneeling in front of a lone paper screen.
Woooo! London!
We then discussed “As You Like It,” the Shakespearean comedy that we were to see at the Globe later that day. There are many typical elements of a Shakespearean comedy in this play– the witty dialogue, the Arcadian setting, and the tendency of female characters to progress the plot. Furthermore, we were going to see it at the Mecca of Western theater, The Globe.
Kissies!
Finally, we learned about the history behind La Cage aux Folles, the musical that inspired Robin Williams’ The Birdcage in 1996. Surprisingly enough, La Cage aux Folles was an extremely popular movie before it ever hit the stage, and it was the most financially successful foreign film ever when it was originally released. It’s success continued with the 1983 premiere, and its most popular number, “I am What I Am” became an inspirational anthem for the Gay activist community.
Show #1: As You Like It at The Globe
Professor Clum’s advice of renting cushions came in handy, as we were subjected to our most uncomfortable theater conditions of the trip. The back-less wooden benches do not mesh well with three hour performances, but the show was still great. It’s themes of disguise and intertwining romantic interests were played out in hilarious fashion, as there were multiple funny scenes that culminated in raucous applause from the crowd.
The stage at the Globe, as some 'groundlings' are going right up to the edge.
Almost as good as the performance was the sense of history in the Globe. While the original theater burnt down a few centuries ago, the layout is virtually the same, and it was fun to imagine productions from back then happening in this very same space. The standing room section allowed viewers to walk right up to the edge of the stage, and it inspired the actors to interact with the audience– a technique which Touchstone took advantage of a few times throughout.
The show ended with a song and dance that can best be described as ridiculous… ly entertaining. Starting off with some timeless moves and then progressing to some more twenty-first century coordinated jigs, the company seemed to be in great spirits after the show, and it got the audience pumped up. It set the tone for Rosalind to deliver a cleverly-written epilogue to cap off the afternoon.
Show #2: La Cage Aux Folles at The Playhouse Theater
The Playhouse
The Playhouse Theater was a perfect venue for this show, as it had the smaller, potentially trashier feel that you would imagine La Cage to have. This play was different from the one we had seen earlier in the day in almost every way except that it, too, was hilarious. This seemed to be the first play of our trip that touched on immediately relevant social issues, as it shed a refreshing comedic light shed on contemporary family values, gender identification, and stereotypes. The quick set changes and upbeat pace kept the story moving, and I’ve already downloaded a few of the catchy songs from the soundtrack.
Quote(s) of the day:
1.
Student #1: Professor Clum, what’s a hobbyhorse?
Clum: … Think of what you do to a hobbyhorse. (giddy-up)
2.
Leila: I hear beer is good for your hair.
Louis: (pointing to head) No it’s not, honey.
Tour: The Hatfield House
We took a 40 minute train out to the historic Hatfield House… and almost left Louis behind. Fortunately he made it just in time, and we proceeded to take a tour of the House from what Nate described as the “most British tourguide” he’d ever seen. It’s hard to explain what he meant by this, but he was definitely right.
The Hatfield House
After our tour, we explored the gardens of the house, enjoyed the surprisingly good weather, grabbed some pub food, and took the train back to King’s Cross.
Colorful stained glass windows from the early 17th century, inside the chapel of the Hatfield House.
Show: Madame Butterfly at the London Coliseum
This was our first experience with an Opera, and it was certainly an experience. First of all, the London Coliseum was magnificent, and Professor Clum knows how to select seats. We were seated in the Upper Circle, directly in the middle, although some of us had a more difficult time getting to them than others. I accidentally sat upstairs in the balcony, and found myself sprinting down a level through closing doors to get to my seat on time. And Jay, Rob, and Ryan originally thought the show was at the Royal Opera House, so they sprinted over a mile to get to their seats on time. So despite what others may have thought, the panting during the complete silence of the first few minutes of the play was not because we were getting emotional.
The ornate London Coliseum, located right in the center of Leicester Square.
The play was in three acts, with 10-minute intervals in between each act. The actor who played Pinkerton actually came down with a case of Hay Fever mid-show, which was announced during one of the intermissions, but he thankfully agreed to finish the performance. His reward was one of the bigger rounds of applause during his bows– second only to the one given for the Bunraku puppeteers who worked the little boy.
Quote of the day – “Milk.” -Ryan
Class:
Today we had a guest lecturer: the humbling Paul Ready, who plays Alan Conway in Time and the Conways. Paul answered questions we had about the play, and then proceeded to undertake a daunting task: teaching Shakespeare to a group of people who had never acted Shakespeare before. He covered iambic pentameter, rhythm, punctuation, and many other specifics that will certainly be helpful in acting our own Shakespeare verses next week.
Paul Ready teaching our class about Shakespeare. What a guy.
Show: The Cherry Orchard at the Old Vic.
The Bridge Project
We saw the same cast as Monday perform in Chekov’s classic, on the same stage, with much of the same set. Acts I and II were separated from III and IV by a 15-minute interval. The dramatic final scene was played well by Richard Easton, and may have been the most memorable image on stage along with the collection of peasants across the backdrop. This was undoubtedly the first time many of us have seen the same cast do two different shows in such a short period, and we were lucky that the cast was so talented.
Quote of the day: “O!” -Tisch
MALS London '09 
