Minding The Gap: Reflections on a month in London

As the underground Tube pulls into the station, a recorded tape reminds passengers to "mind the gap" between the train and the platform as they disembark. The phrase has become a trademark in London, so much so that vendors sell t-shirts with the phrase on them. While these words have a simple, practical purpose for the Tube, as this trip has progressed, I have begun to think of them as a metaphor for my experience in London over the past month. In many ways, this trip has forced me to take a step out of my comfort zone, observe and engage in a new culture and environment, and embrace new challenges.
    Whenever we step out of our natural surroundings, it becomes necessary to change our habits and little things in our daily routine that we might normally take for granted. For example, when crossing a street in the US, our natural tendency is to look left for oncoming traffic, make a quick glance right, and then cross. In London, this whole pattern has to be reversed. Another major difference from the US is the currency. With coins of all different sizes and values than what we utilize in the US, fishing for change at the coffee shop becomes a whole new experience, especially when one has to press the coin up to his eye to see what it's worth as the other customers in line roll their eyes. In essence, when traveling in a foreign country, we must "mind the gap" between our familiar customs and those of where we find ourselves.
    The major focus of the trip was theatre, and as I watched the plethora of plays that the West End has to offer, I was challenged to watch each production with a much more critical eye than I had used previously. Primarily, I was tasked with asking "why" questions. Why does this actor or actress portray the part as he or she is? Why is the set minimal? Why effect did the lights and sound have on the show? These are just a few of the questions that one could think of while experiencing a show. Overall, this trip has transformed me from a fan of theatre into a student of theatre. It has forced me to "mind the gap" between being a passive observer interested solely in entertainment and a focused student intent on grasping the message that each production is trying to convey.
    Finally, this trip has given me a taste of what it is like to be completely responsible for myself. As I near the end of my junior year of college, my mind frequently turns to what life will be like "in the real world" without the consistent foundation that I have come to expect from school, home, and family. While I was still under the wing of St. Olaf on this trip, having money, tickets, and accommodations provided for me, the reality that I will have to come up with these things on my own in a year and a half is starting to hit me. Needless to say, there is certainly a gap between these two different lifestyles.
   As I prepare to depart London and return to the US, I hope to bring with me an appreciation of the culture and history that I have absorbed here, maintain the new friendships I have developed, and finally, mind the gap between the person I was and the person I have become.

News from London

Hi everyone!

Sorry for such a long delay between posts -- I am trying to be out and about as much as possible, but I know I need to keep up to date on my activities here for all of you back home. So here we go!
Last week we departed London for some time out in the countryside, which was a great change of scenery. Our first stop was Stonehenge, which was fun to see and take pictures of, and just be looking at something that has been there for that long. We then made our way into Bath and took a tour of the Roman baths, which were really cool. Lots of history and beautiful scenes there, and the town of Bath is really like a blast to the past. I loved every minute of it. Our final stop of the day was Bristol, where we had a night of luxury in the Bristol Hotel.

The next morning we took a tour of the Old Vic, which is a wonderful old theatre that is currently being refurbished. We then hopped back in the bus and were on our way to Stratford. We arrived in the afternoon and checked into two bed and breakfasts. We had the nicest owners you could wish for, and also a dog to cuddle with named Harry. After checking in we wandered out to Anne Hathaway's cottage, where we encountered the tour guide who was probably my favorite of the trip so far. She knew every little detail about life back in the days of Anne Hathaway and Shakespare, and truly brought the house to life. (and she also had a terrific sense of humor). We also went to Shakespeare's birthplace, which wasn't quite as scenic or enjoyable but still fun.

The next day we took a tour of the Royal Shakespeare Company building and theatre, which was fascinating and made me (and many others in our group) want to work in a professional theatre. Our tour there was followed by a production of Matilda the Musical, which was outstanding in every sense of the word. Terrific music, amazing acting, and just pure enjoyment for everyone. As an added bonus, the actress playing Mrs. Honey was the original Violet from the musical Violet, who I spent a LOT of time listening to this past fall. For the rest of the day we just walked around Stratford, taking in the sights, and had a relaxing evening.

On Friday we drove back to London, and after dropping off some luggage at our hotel for the following week, embarked on our free weekend. Six of us stayed at a youth hostel here in London, and upon arriving there, discovered we had to ascend to the 4th floor, up 99 steps, with our suitcases. Needless to say, it was no easy feat. We got there eventually, and after catching our breath, set off for an afternoon at the British Museum. They had a lot of cool exhibits on Ancient Egypt, Greece, and Rome, and I was able to put by Great Con knowledge to work. For dinner we went back to Regents College, since the food is cheap there, and then came back to the hostel to work on our journals and relax.

Saturday was a fairly relaxing day. A few of us spent the morning in the Natural History Museum, which was very fun. Lots of dinosaurs and a cool exhibit on human evolution and Darwin. I really enjoyed it. After lunch at Regents we spent the afternoon in the hostel working on journals, and I also spent some time looking into summer internships, jobs, etc. On Sunday Ben, Katie and I got up and took a nice walk through Hyde Park to Speaker's Corner, which did not quite live up to the expectations we had. However, we walked down path to the coffee stand, got mochas, and sat on the bench and had a nice long chat about the scariness of going into the real world and living on our own. We then went back to Regents for lunch, and on a whim, Ben and I booked tickets for the matinee of Jersey Boys. It was one of my favorite shows of the trip. The music was fantastic, and the actors were absolutely phenomenal. I’m so glad I saw it. Sunday night we hung out and had beers in a pub for a while, and then headed back home.

Monday we all met up again and checked in at the Umi Hotel, where we are staying for our final week. A few of us took a stroll down to Abbey Road to see it and get a picture in the crosswalk, which is a harder than you might think. We chilled at the hotel for awhile after that before grabbing a quick dinner and heading to King Lear at the Roundhouse. My review has just been posted.

Finally, today we had class for the first time in over a week, and then went over to take a ride on the London Eye, which is a huge ferris wheel that brings you way up above the city. It was pretty cool. Tonight we saw A Flea In Her Ear, which had as all laughing from the moment it started. Review coming shortly.

Sorry for this Moby Dick of a post, but I wanted to include as much as I could. Only three more days!

Cheers!

King Lear: Tragedy Unveiled

Haunting is a word that immediately comes to mind from this new production of King Lear from the Royal Shakespeare Company. A perpetual haze envelops the stage throughout, and darkness and shadows complete the dire atmosphere of Albion. The stark and colorless lighting, complimented by a subtle but persistent bass drum soundtrack, foreshadow the impending doom that the play relentlessly drives toward.

While effectively setting a mood and environment for the characters, the technical elements took a backseat to the acting and text, which with Shakespeare, I believe, is their rightful place. Many scenes, especially in the first act, took place with merely a bench on the bare stage, allowing the audience to devote ample attention to the dialogue and behavior of the characters. Greg Hicks, while at times seeming too young to portray the weary Lear, delivers a masterful performance. His transformation from a shrewd and regal King in the beginning to a mad, half-naked psychotic in Act II is both captivating and terrifying. Another highlight is Sophie Russell’s portrayal of the Fool, which is full of intelligence and wit.

Small weaknesses in the production were its confusion of era and faulty set design. The juxtaposition of chandeliers with more modern lighting fixtures, swords with guns, and knights alongside uniformed soldiers created a jumbled and disjointed message, and left me in somewhat of a void. And while I enjoyed the set design, I could only enjoy what I was able to see, the contents of which did not include the large window that hovered over the stage. Given the fact that I was not in a restricted seat, I feel that the design could have been thought through more effectively.

Overall, I felt that the production was successful, and was driven by the acting and attention given to the text.

Matilda: Enthusiasm for Learning

Roald Dahl's celebrated story of Matilda, a 7 year old-prodigy with a love for learning, is filled with enthusiasm and youthful delight, and is adapted extremely well to the stage by librettist Dennis Kelley and the Royal Shakespeare Company. Children comprised a large part of audience, and while the production is certainly tailored to the younger demographic, it is sure to be enjoyed by spectators of any age. The story promotes finding enjoyment in books and human interaction rather than artificially through a television screen, and this is a message children, and indeed our society as a whole, is sorely in need of hearing right now.

The acting is superb all around, and special attention is certainly due to Adrianna Bertola and Bertie Carvel for their portrayals of Matilda and Mrs. Trunchbull respectively. Bertola, who is on stage throughout nearly all of the two and half hour show, comes across as an utterly convincing seven year-old, and sings with a confidence and maturity beyond her years. Carvel plays a menacing school principal, and finds a perfect medium for depicting a formidable woman without exaggeration and over-dramatization.

The set is also a high-point, and draws the audience into the story before they even set foot in the auditorium. Chalkboards in the lobby are filled with the exclamations and commentary of previous attendees, and spark an excitement to see what is inside. A backdrop of towering bookcases is the center of attention on stage, and Scrabble tiles on the surrounding walls complete the classroom decor.

Finally, the original score from Tim Minchin is lively and clever, adding a dynamic energy to the story that neither the book or the movie could provide. Needless to say, I can't wait until the cast recording comes out.

I felt that the show was a resounding success in every respect. All of the production elements worked together beautifully, and complimented a story that is both entertaining and relevant to our culture today.

The Woman In Black: Horror-Lite

Patrons must ascend the narrow, winding staircase to make their way to their seats on the second level of the bare Fortune Theatre, and this climb immediately sets the mood for the dark and sinister play "The Woman in Black", which has been running on the West End for over twenty years.

A young solicitor is sent to tidy up the affairs and estate of the recently deceased Mrs. Drablow, but is haunted by the noises and ghost-like ambience of the house, and especially by a mysterious woman dressed in black who appears out of nowhere and then disappears into thin air. The play presents this solicitor as an old man telling of his experience to an actor, and together they act out the story.

While I thought that the acting was superb, I felt that the story was a bit cliche and I could not get engaged or easily hooked. There were no unexpected twists and turns, and as a result I didn't ever feel scared or yearn to see what was going to happen next. Furthermore, the sudden shifts out of the story back to the old man and the actor talking seemed jarring to me, and weakened any tension that had built up in the plot.

However, despite these weaknesses in the script, I thought the technical elements were quite effective. The stark, sterile lighting conveyed a sense of uneasiness, and the sound effects of horses galloping and furniture creaking through the house nicely complimented the dialogue. Above all, the acting was full of expression and character, and the words were inflected in a way that was perfectly tailored to the telling of a ghost story.

Overall, I felt that while the environment the play put forward was dramatic and appealing, its potential and effectiveness was diminished by the un-engaging storyline.

Days 11-14

Hello!

Well tonight is our final night in the Regents apartments before we take off bright and early in the morning for Bristol and Stratford for the week to see Stonehenge, the Roman Baths, Shakespeare's birthplace, Ann Hathaway's cottage, and other attractions. I am looking forward to getting out of the city for awhile -- it will be a nice change of pace.

Anyway, I will fill you in on what we have been doing the last few days! On Friday we saw Fela, preceded by a platform discussion beforehand with 3 people who knew Fela personally and gave us a fuller picture of him than the show could. The show was unbelievable and so filled with energy and enthusiasm. I saw it in New York last summer, and liked this production even more. The actor who played Fela was the same as the one in NY, but the Olivier theatre is capable of much more cool technical stuff than the Broadway theatre was. It is just such an original show, and it was a blast.

On Saturday we had class in the morning and then took a trip to St. Paul's Cathedral, which was fun. We climbed all the way to the top, up very narrow, spiraling staircases, but it was worth it. You can basically see all of London from there. I will be putting pictures on Facebook. Saturday night was pick your own play night, and Ben and I went to see Woman In Black, a horror show that has been playing for over 20 years. We both agreed that the acting was excellent, but the story line was not too engaging. There were some scary parts, but I'm amazed that it has had such a long run. Anyway, it was fun.

Yesterday we had a day completely to ourselves, which was really nice. We all slept in (this was the first day we have been able to do that since we got here), and then went to Regents for lunch before heading to the Camden Markets to walk around and shop. There are SO many stands and shops there it is kind of overwhelming, but it is a really nice area to walk around and look at things, and it was fun to hang out. Then we came back and had all had a pizza party together, which was lots of fun.

Today we had class in the morning and then went for a tour of the Shakespeare Globe Theatre (pictured with this post). We had a fantastic tour guide, and it walking around made me really want to see a play there. After that we came back to the apartments, and tonight lots of us are doing laundry, packing, and getting ready to leave tomorrow. We are only seeing one show this week -- Matilda the Musical on Thursday. It has gotten rave reviews, and we are all pretty excited.

I don't know how much I'll be able to get on the internet this week, but I will try to make another post soon. Next weekend is our free weekend, and I know that the hostel we are staying at has WiFi, so I will certainly post from there. We are more than halfway to the end. Time goes too fast!

Cheers!

Fela: Boundless Energy

A fusion of musical, concert, biography, and dance, Fela represents a thoroughly original approach to musical theater and displays the possibilities for the future of the genre. Set in The Shrine, Fela's beloved nightclub in Nigeria, Fela and his supporting cast of women dancers, looked over by the imposing figure of his mother, present a story of their final concert there. Fela's innovative Afrobeat, politically-driven music is the primary focus of the show, and is interspersed by verbal accounts of the oppression and violence imposed upon them by British colonialists in the 1970s.

From the moment the show begins with introductory, live dance music, the energy of the production is immediately apparent and permeates through the audience. Colorful posters and projections of newspaper clippings from the period cover the walls, and rotating lights and disco balls complete the night-club vibe. Sahr Ngaujah, the sole carry-over from tbe Broadway production, is so convincing in his portrayal of Fela that it is easy to forget he is acting. He captivates the audience with his astounding singing and dancing (pulling off a persuasive fake-saxophone playing act as well), and enthusiastically invites the audience to get up, sing and dance with him. Rather than a static presentation that remains the same each time, this show is truly a collaborative experience between the performers and audience that changes with each new group of people, and the result is refreshing and invigorating.

However, for all of its celebration of this charismatic figure of Fela, the show shys away from showing his less appealing attributes, and tailors our perception to only what it wants us to see. Fela was an active polygamist, marrying 27 wives and living with all of them in his house. While there is certainly an argument to be made that by marrying them he saved them from being prostitues alone on the street, it is hard to believe that this was his only motive. Without undermining the undeniable suffering that was wrongly inflicted on Fela, I believe the play could have looked at the man from different angles to give us a more complete picture.

Overall, I thought the play was a resounding success in that it was bursting with energy, filled with dazzling but not overwhelming spectacle, and drew me into a culture that I was previously unfamiliar with.

The 39 Steps: Creativity At Its Best

With four actors covering over 130 different roles with unique costumes, accents, and attitudes, The 39 Steps exudes creativity, keeping the audience thoroughly engaged and constantly wondering what trick is going to come next. Based on a 1915 adventure novel by John Buchan that was later adapted into a movie Alfred Hitchcock, the play follows a man wrongly suspected of murder who is trying to prevent secret information from leaving the country without being caught.

The intimate Criterion Theatre immediately brings the audience into the activity taking place before them, and proves to be a perfect fit for the show. While the set and effects are minimal, the talent of the actors and meticulous direction by Maria Aitken turns this abandoning of naturalism into a positive attribute, and makes us aware of how imaginative and effective theatre can be without too much spectacle. For example, a single door is simply moved around to create different rooms of a house, and the presence of wind from the outside is suggested by the characters grabbing and shaking their garments.

Of course, such an approach would fall hard if the actors weren't up to the task, but that is far from the case in this production. While the male protagonist remains as the same character throughout, the other three change continuously at lightning speed, and sustain the essential fast-pace of the show with remarkable ease, fluidity, and humor. Such a style is perpetually appealing to children, and the cast takes it a step further by including many references to Hitchcock movies that will amuse the older generation. Finally, the spooky Hitchcock-like soundtrack is a beautiful compliment to the stage action, and immerses us fully in the world of the play.

Overall, I believe that the play was very effective by incorporating comedy, thrill, and surprise in an original and creative way.

Days 7-10

Hello!

Well, we have been here over a week now, and I am starting to get immersed and comfortable here in the city. Every day brings a new adventure -- it is truly the trip of a lifetime.

On Monday after class we went to Westminster Abbey, and there is no word to describe the Abbey but breathtaking. It is just so huge and majestic, and walking over the graves of Dickens, Newton, and Handel, just to name a few, was amazing. Of course, William and Kate will be getting married there shortly, which will be exciting. Monday night we saw Birdsong, which most of us agree was the weakest show we have seen so far. My review has been posted.

On Tuesday, we had Michael Billington, the chief theatre reviewer for The Guardian, come and talk to us, which was great. He talked to us about what he thinks makes London theatre unique, the challenges some theatres are facing with budget cuts, and what he thinks of the shows we've seen and will see. In the evening we saw The Rivals with Peter Bowles and Penelope Keith, which was one of my favorites that we've seen. The review of that will be posted shortly.

Yesterday we moved into new apartments which are really nice, and then had a backstage tour of the National Theatre, which was so cool. I really discovered the importance Londoners place on theatre, and how critical the National Theatre is to the arts life here. I would highly recommend checking out the website here. We then saw Season's Greetings at the National in the evening. The review of that will be posted tomorrow.

Today we had class and then all split off and went to various museums for the afternoon. I went with a few other people to the Tate, which was fun. I took a nap after we got back, and then had dinner at an excellent Indian restaurant before going to The 39 Steps, which was hilarious.

We are having a great time, and I'm savoring every minute!

Cheers!

Season's Greetings: The Family Dynamic

All families have their own unique eccentricities, and holiday gatherings are prime occasions for individual mannerisms to clash and the chemistry of relationships to come to the foreground. Alan Ayckbourn's Season's Greetings provides a snapshot into the life of the Bunker family over the Christmas season, and illuminates the pleasures and challenges of family interaction.

While the play lacks a dramatic contour and definitive climax and release, such a structure compliments the realism of the story and the true nature of family life and does not prevent one from identifying with the characters. Ayckbourn's script is full of witty dialogues that keep the audience engaged throughout, and he impeccably hits the nail on the head in conveying the inevitable twists and turns of a large family event. The character of Clive, a guest of the family who is enthusiastically welcomed by some and despised by others, adds yet more authenticity to the story, and helps steer it in new and humorous directions. Curiously, while children are referred to many times throughout, they never appear on stage, perhaps suggesting that while Ayckbourn wants us to have the children in the back of our minds, his focus is more about what goes on behind-the-scenes after the children have gone to bed.

The set is a two-story house with an attic for Clive, and it's strong naturalism is very effective. The lighting is also integral to bringing the story to life, flooding brightly through the windows on a sunny Christmas morning and dying down as the hours pass by. A weak point, however, were the scene changes. With the enormous repertoire of Christmas tunes to choose from, the selection here seems curious and simply did not fit. Furthermore, while moving the set pieces around, the actors seemed to completely step out of character, and in doing so removed the audience from the world of the show.

I believe the show was effective in conveying a subject and story we can all relate to, and injecting humor to make it entertaining and engaging.

The Rivals: A Festival of Wit

Romantic intrigue and witty humor pervade the revival of this comedic classic, and I could not find one weak point in the production. While the text and acting drive the performance, the simplistic courtyard set, period costumes, and Baroque style music to accompany the scene changes truly transport us back to 1775 Bath.

Peter Bowles and Penelope Keith excel in their respective roles, and expertly strike a balance between speaking to their fellow characters and engaging the audience with their witty remarks. Credit is also due to Peter Hall for his masterful direction and coaching on the comedic timing with which the words are read. Each character has a distinctive personality mannerism: Mrs Malaprop with her erronious words, Mr. Absolute threating to go into a "frenzy", and Mrs. Lydia Languish with her intense over-dramatization of each word she speaks. These traits bring the old-fasioned characters to life, and are executed beautifully.

I believe the production was a stunning success in every aspect, and thoroughly enjoyed the experience.

Birdsong: Skimming the Surface

Based on the highly acclaimed novel by Sebastian Faulks of the same name, the stage production written by Rachel Wagstaff and directed by Trevor Nunn only skims the surface of a potentially engaging and poignant story. Stephen Wraysford, an Englishman who has come to France to work in a textile factory, engages in an intimate affair with his boss's much older wife Isabelle. She eventually leaves him, and Stephen, distraught, joins the British Army that is currently entrenched in World War I. The play depicts Wraysford's struggle to endure through the war's hardships, and overcome the grief brought by his romantic loss.

The first act seemed rather shallow in that it struggled to develop the characters and allow us to sympathize with them in the way a novel might. The relationship between Stephen and Isabelle began and progressed unrealistically quickly, and too much time was spent on love-making without any words to make it seem genuine. Furthermore, there was a disconnect between the sections of narration and dialogue, as if they play couldn't decide if it was a true play or a novel thrown hastily up onto the stage. While the projections of the scene background certainly had potential, the movement of Stephen from inside the scene to an outside commentator diminished their effectiveness and confused the contour of the story.

In contrast, the portrayal of the brutality and unrelenting nature of war in Acts II and III was extremely well done, and the side-story of Jack vividly brought out the emotional loss and suffering that inevitably comes with war. In addition, the sound effects of gunshots interrupted by bird calls give the story an authenticity and realism that was largely absent in Act I.

While aspects of the play were successful, I believe overall that it lacked the depth and sense of moral ambiguity that could be derived from the story, and allowed us to only penetrate the surface.

Hamlet: A Modernization

As the lights go down for the show to begin we hear a the sound of a plane thundering overhead, and are immediately thrust into the dark and sinister environment of this Hamlet adaptation. Set in a modern police-state Denmark, with surveillance cameras and guards with earpieces covering the stage, it is immediately apparent that no action the characters engage in will go unnoticed; everyone is being watched.

The set is quite minimal, but effectively compliments the modernistic and foreboding aesthetic. Simple and unaffected white panels are revolved around to create the different rooms of the palace, and also allow for shadows to be reflected on them to enhance the ghost-like ambience. The stately wooden desks, men dressed in black suits, and portraits on the walls lend a feeling of being in the White House. A weak point is the loud, techno soundtrack that accompanies the scene changes. It seems disunited from the rest of the subtle production elements, and is somewhat jarring. Overall, however, the modernistic setting was successful by comfortably placing us in the context director Nicholas Hytner envisioned without covering up the acting and storyline,

The acting overall is superb, and Rory Kinnear's portrayal Hamlet is truly the high point of production. Reciting each line with nuance and extraordinary expression, he superbly displays how Shakespeare's words from the 16th century are just as brilliant today, and can be effectively intertwined with a contemporary realization of the play. Patrick Malahide's stoic and stony rendering of Claudius is also very effective.

While the production is a bit lengthy, approaching nearly 4 hours, I felt that it successfully conveyed a modern controlled, military sensibility, and brought Shakespeare's timeless story and words into our 21st century world.

Days 4, 5, and 6

Hello all!

Sorry I have been behind in posting daily blogs. Things have been very busy here in London! I will try to recap here what we have done the last three days. Friday morning we had the privilege of listening to Alan Hurst, a Shakespearean scholar, speak to us in class about the four Shakespeare plays we will be seeing (Hamlet, King Lear, As You Like it, Julius Caesar). It was a fantastic lecture, and gave us things to think about as we watch. That afternoon we went to the Tower of London, pictures of which have been posted on Facebook. It was a fascinating place, and so cool to be somewhere that was originally built in 1066! It completely takes you back. So cool. Friday night we took in the comedy thriller Deathtrap, the review of which I have just posted.

Saturday morning we had Simon Russell Beale speak to us, which was absolutely amazing. He is the star in Deathtrap, and has been described as the greatest stage actor of his generation. He is an enormous big shot here in the UK. Check him out here.
The rest of Saturday was spent in the theatre, seeing a dazzling production of Oliver! and a modern setting of Hamlet (which lasted a staggering 4 hours). Reviews of those shows will be coming soon.

Today we took a break from theatre and took a trip to Leeds Castle, shown in the picture accompanying this post. It was a gorgeous day, perfect for walking around and exploring this beautiful site. Many more pictures will be posted on Facebook. For the afternoon we travelled to Canterbury and attended an Evensong service in the Canterbury cathedral, which was stunning. Overall a great day. Agenda for tomorrow is class in the morning, a tour of Westminster Abbey in the afternoon, and Birdsong tomorrow night. Should be fun!

Cheers!

Oliver: Spectacle Galore

Rupert Goold's revival of Oliver!, based on the Dicken's classic Oliver Twist, is a feast for the eyes, and a charming production geared towards the younger generation, which comprised a large part of the house. The monumnetal Theatre Royale, Drury Lane offers a myriad of possibilities for spectacle, and the show certainly lives up to this call.

Employing a cast of early 80, the major musical numbers, such as "Consider Yourself" and "Be Back Soon" are a flurry of activity, and at times can be too much for the eyes to handle. The set design by Anthony Ward adds yet more extravagance, but are dazzling and showcase the technical possibilities of the musical in the 21st century. At one moment we see a city block with snow in the background and majestic buildings and street lamps lining the street, and before we can blink it shoots up and out of sight as the ragged chamber of Fagin and his boys emerges from the floor.

The story is for the most part light-hearted and entertaining, but marked by some darker, violent moments in Act II and some sexual gestures in Act I that may have been a bit out of place for the show's target audience. However, the performances from Oliver, Dodger, and Nancy, portrayed by Gwion Wyn Jones, Ben Wilson, and Kerry Ellis respectively, overshadow these murky areas and compliment the bravura that the show lives on.

Overall, I believe that the show was successful in conveying an entertaining story through the scenic brilliance that we have come to expect from musicals, and providing an opportunity for an enjoyable night at the theatre for the whole family.

Deathtrap: A Pure Thrill

A murder mystery thriller that will keep you on the edge of your seat, Ira Levin's Deathtrap provides a welcome, comedic contrast to the many heavy dramas that are currently running on the West End. Sydney Bruhl, played by the renowned Simon Russel Beale, is a middle-aged playwright going through a writer's block. When he receives an outstanding script in the mail from one of his creative writing students, becomes so jealous he hatches a plan to invite this budding young writer over, murder him, and claim the story as his own. Needless to say, this is far from what ultimately happens. The story takes many unexpected twists and turns, which, as a note in the program requests, I will not elaborate on here.

The thrill that embodies the production comes alive through the synthesis of a realistic setting and fantastical events. The set, designed by Robert Howell, is breathtaking, immediately drawing the audience into the rustic, creaking house. In addition, the atmospheric lighting, hair-raising soundtrack, and cracks of thunder makes one feel as though he or she has been thrust into a horror movie, and work together to create a chilling vibe throughout the space. Within this naturalistic environment, however, we are led through a maze of implausible events that take us out of reality and provide the entertaining escape that brings us to the theatre. In her essay "Stage Fright: Making The Audience Jump" that accompanies the program, Susan Hill writes, "To enjoy being frightened, to need to be frightened, in a controlled safe environment seems to be a basic human need...We may be threatened by illness, accidents and other uncomfortable ways to meet a sticky end once we leave the world of the play...But those are real, everyday fears. In the theatre, the actors wish us no harm and yet we need to believe and fear that the characters they play just might."

The thriller genre has been around for decades, and with Deathtrap director Matthew Warchus proves that it can indeed still be successfully presented on the stage.

Master Builder: The Need to Release

As you enter the theatre Halvard Solness, Henrik Ibsen's protagonist in the eery Master Builder, sits alone on an empty stage, silent and staring pensively around the small space. One immediately identifies him as a man who is utterly haunted. Consumed by feelings of guilt, inadequacy, and a need to be constantly in control, he finds himself trapped within himself, unable to accomplish anything. He blames himself for the death of his children in a fire, and is reluctant to see his projects taken over by the younger generation, unable to accept that his time must soon come to an end.

Hilda Wangel, portrayed in a mesmerizing performance by Gemma Arterton, appears as an almost mythical creature from Solness's past, and reminds him of his promise to build her a castle, and run away with her to escape from his current dilemma. We in the audience have no means to verify her story, and are left to wonder if what Hilda says is really true, or whether perhaps she serves as a figment of Solness's subconscious. Regardless of what interpretation is adopted, Hilda is telling Solness that he must make an effort and take action to release his "sickly conscience" and move towards genuine happiness, and that it cannot be found in his present condition.

We all go through times in our lives when we feel that the events of the world are conspiring against us, and as these feelings intensify, our delusions are vulnerable to exponential growth. For me, this play serves as a metaphor for how easily anxiety can envelop us in its grasp, and if we don't commit ourselves to releasing the tension, the consequences can be catastrophic. This production offers no prescribed route to that leads us to the internalization of this universal message. Instead, it asks us to come to our own, individual realization, and release any tendency we might have to be spoon-fed a straight-forward message. The set consists of nothing but a square of bare dirt from the earth, a chair, and a long staircase in the back enshrouded in shadows, waiting for Solness to take the first step up.

I believe the production was effective by immediately taking advantage of the intimacy of the 800 seat Almeida Theatre, and allowing us in the audience to feel as if we are in the middle of the conversation taking place.

Men Should Weep: The Struggle of Life

Family life inevitably includes periods of struggle and conflict, and in times of economic hardship, such tensions can frequently rise to the boiling point. Set in Glasgow, Scotland during the Depression Era of the 1930s, Men Should Weep portrays the struggle of the poverty-stricken Morrison family, and focuses particularly on the hardships endured by women.

Maggie, the mother and housewife, embodies the struggle and constant pressure women face in keeping the family upbeat while spirits are low from the lack of money. While her husband John is unemployed throughout most of the play, Maggie demonstrates that the job of a mother is one that never disappears. There is always work for them, and more times than not, it is taken for granted. Shopping for groceries, making the meals, washing the dishes, doing the laundry, and above all, serving as a warming presence to her fellow family members, are just some of the tasks women constantly must attend to, and the only reciprocation they can expect and hope for is affection and appreciation from the people they serve and love.

The set design, a two-floor apartment building with the Morrison living room front and center, compliments the mood of the play beautifully. Neighbors frequently come in and out to visit, lending a sense of community that the characters embroiled in strife hunger for. The text is spoken in a sharp and biting Scottish dialect, and while at times it was quite difficult to understand, it adds character to the words and pairs well with their tone and inflection. The costumes are also well-suited to the time, and help fully immerse the audience in the mood of the era. Finally, the subtle but noticeable use of jazz music to accompany the scene changes adds a wonderful touch, and fully brings the 1930s spirit to life.

While one should certainly not attend this play in hopes for an uplifting night at the theatre, it resonates soundly with the current economic downturn we find ourselves in, and achieves its purpose of highlighting in particular the individual struggles of women in these difficult conditions.

Day 3

A day full of drama. I am exhausted. We started class at 9:30 today, and after hearing previews of Men Should Weep, Master Builder, and the theatres we would be visiting, we had an excellent and insightful discussion about War Horse. I picked up many things I hadn't last night, and it made me want to see the production again. I have posted my review on the blog. Please comment and let me know what you think!.
We spent the rest of the day in the theatre, immersed in heavy dramas that are still resonating in my head. Reviews on both will be coming shortly. Tomorrow we will hear from Shakespeare scholar Alan Hurst in class, visit the Tower of London in the afternoon, and see Death Trap starring the renowned Simon Russel Beale in the evening. Should be another fun day!

Cheers!

War Horse: A Story of Loyalty

An intersection of war and family, friendship and survival, tied together by loyalty. The story takes place during World War I, and portrays the relationship between a boy, Albert, and his horse Joey. Albert's father has sold Joey to English calvalry for 100 pounds, and Albert is determined to get him back. So determined, in fact, that he runs away from home and joins the army at the young age of 16. We are immediately immersed into the brutal environment of war, which is punctured by compassion for the horses whose plight has hitherto largely been unrecognized.

The play's minimal set and unadorned aesthetic allows us to focus on the characters and plot, and transports us back to a time where human relationships were the fruit of life, unimpeded by technology or other distractions. The main playing area of the stage remains almost entirely clear throughout the production, while the visual projections and sound effects provide life without extravagant spectacle. The puppets, created by the Handspring Puppet Company, are a truly defining and unique element of the production, and the puppeteers' attention to detail in the slightest movements of the horses is incredible. After a few minutes, we forget the puppeteers are even there, and see the horses as real, living creatures. It is impossible not to empathize with the characters, and indeed the animals, on stage, and identify with the loyalty they embody.

Albert is fiercely loyal to his horse. When he finds his father whipping him after Joey refused to wear a harness, Joey bites his father and comforts the horse. The father, on the other hand, is above all concerned with the well-being of his family, as represented by his sale of Joey. The mother finds herself caught in between loyalty to her son, who she knows loves Joey more than anything in the world and will not be happy until he gets him back, and loyalty to her husband, who she feels they owe everything to. Finally, the loyalty of all the characters to their country and its cause in the war is central. These opposing loyalties create the tension drives the action forward, and brings the family and war story-lines together.

Overall, the play achieves its purpose of bringing to light the lives or horses in war, and keeps the audience engaged throughout with a authentic and stirring story.

Day 2

Our first full day! It was a packed day, but filled with fun. We woke up around 8:00, and then went and had a delicious breakfast in the "refectory," as they call it here. The food is outstanding -- comparable to St. Olaf, which is really nice. After breakfast we had a mini-adventure finding the classroom, and made it in time for our class which began at 9. In class we discussed what the professors would be looking for in our reviews, some frequently used theatre terms, and we heard previews of show we would see later that night, War Horse, and the New London Theatre, where it is currently playing. More on War Horse in the following post. Needless to say, it was outstanding.
After class a few of us went out on a walk down Baker Street, stopped in to exchange some money and went in a few shops. We also walked around the park for awhile and I got some nice pictures, which you can see on Facebook. After lunch we embarked on a bus tour with a fantastic tour guide who was literally a walking encyclopedia. She knew every date you could imagine, and rattled off the history of England's royal family like it was her shopping list. We saw many of the major sites in London, and it was a great time. After returning to Regents, I took a short nap before heading to dinner and getting ready for the show. Still adjusting to the new time zone a bit, but by tomorrow I should be back to normal.
As I said I will be making a post exclusively about War Horse following this one, so stay tuned for that. Today, we are seeing Men Should Weep and Master Builder. Will let you know how those are soon!

Cheers!

Day 1

Well, I made it safe and sound. Had an easy flight, got some sleep, and pulled into Heathrow Airport at 7:40 local time this morning. I took the shuttle over to the Delta terminal to wait for the rest of the group, and had a leisurely breakfast, reading a book on my iPad. The Minnesota flight arrived around 1:30, and then we hopped on a bus and rode over to Regents College, where we will be staying for the first two weeks. After moving into our rooms and getting a brief orientation and tour of the building, we embarked on a lengthy walk that eventually brought us to the Italian restaurant where we had a delicious 3-course dinner -- by that time I was starving. We then hopped on the tube and rode back to Regents, and now we're just hanging out in the lounge, getting the wireless network configured on our computers, and checking in on life back home.
Class tomorrow starts at 9 AM, and will go till 11. We will then have lunch and go on a short sight-seeing bus tour. I will try to take lots of pictures and upload them tomorrow night. Then tomorrow night we see our first play, War Horse, which is supposed to be incredible (you can check out a background of the show here). I am very excited, and will let you all know what I think of it tomorrow night.

Cheers!

The Journey Begins: Logan Airport

Hello,

The journey to London begins. I am waiting in Logan Airport, about to board the plane to Heathrow Airport. I'm supposed to arrive at 7:40 tomorrow morning, and will meet up with the rest of the group a little after 12 noon. I am so excited that it is finally happening!!! I hope I remembered to pack everything! Tomorrow we will all meet up and take the shuttle to Regents College, where we will be staying for the first part of our trip. After we move in and get settled, we will embark on a "Great Walk" around London to give us an initial orientation, then out to dinner, and then to bed. I will try to make a brief post tomorrow night, so be sure to check in! Gonna hit Starbucks now and then get ready to board!

Play Itinerary

Here is a list of the plays we will be seeing:

New London Theatre: War Horse
National Theatre: Men Should Weep
Almeida: Master Builder
Noel Coward Theatre: Deathtrap
The Royal, Drury Lane: Oliver
National Theatre: Hamlet
Comedy Theatre: Birdsong
Royal Haymarket: The Rivals
National Theatre: Season's Greetings
Criterion Theatre: The 39 Steps
National Theatre: FELA
Courtyard Theatre: Matilda, The Musical
Royal Shakespeare Company Roundhouse: King Lear
Old Victorian Theatre: A Flea in Her Ear
Tricycle Theatre: Midsummer
Comedy Theatre: Children's Hour
Royal Shakespeare Company Roundhouse: Julius Caesar
Royal Shakespeare Company Roundhouse: As You Like It
Apollo Victoria: Wicked


target="_blank"