Future Cinema - Who Framed Roger Rabbit?

When: Thursday 20^th February 

Where: Troxy

Why: FREE tickets thanks to postponed London Grammar gig

Firstly: Shadwell is terrifying. I’ll just leave that there.

Yeah it was good considering it was free. I don’t think I’d pay for it in future, unless it was a film I LOVED – essentially if they did a Sense and Sensibility one and I got to go home with a young Hugh Grant, that kind of thing. I think getting into the venue was the most entertaining part, lurking round the side entrance of the Troxy yelling potential passwords at a monkey doorman. Apparently we should have actually known the password but thanks to an email I didn’t get, it took longer than expected to guess the right one… Once inside though it was clear that the venue was perfect for the show, very retro and with plenty of dark corridors for Jessica Rabbit to lurk in.

It was a bit like going to an ambiguously themed student ball. Lots of balloons, uninspiring food, and ‘crazy’ thesps dressed as various movie creatures running around causing havoc. The film started quite suddenly just as we were settling into the entertainment, and from then on it was essentially just a very fancy cinema trip. There definitely could have been more done with the characters acting out scenes from the film, although they did do a bit (mainly Jessica Rabbit walking seductively from one side of the auditorium to the other every now and then). The night ended on a high though with the entire cast and audience up on the stage dancing (it has long been my dream to jive with a monkey in a suit. I mean, not really, but it should have been). 

Brixpig x

Duchess of Malfi - Wanamaker Theatre

When: Thursday 13^th February 

Where: Wanamaker Theatre 

Why: New theatre, new season, cheap ticket!

The Wanamaker Theatre is delightful. It was the second project that American actor and director Sam Wanamaker (yep, Zoe’s dad) wanted to complete after founding the Globe we now know (a thousand thanks for that, Sam). And now 20 years after his death it is a reality – and it’s amazing. The interior is beautiful and intimate (it seats 340 people), with ceilings painted with cherubs and covered in gold stars, replicas of which you can buy in the Globe shop, so obviously one is now hanging with pride of place on my wall. It is lit only by hundreds of beeswax candles, suspended in chandeliers and hung on the stage, so the whole theatre smelled gorgeously of honey and warm polished wood, as well as the obligatory incense later in the play. Being as high up as it’s possible to go (cheap standing tickets) I got the full benefit of the rising smoke and a great view of the whole beautiful structure, as well as being right in the eyeline of the musicians on the balcony – whose performance of the lovely score was outstanding. The candles were used to full effect lighting-wise throughout the play, particularly during the meeting of the Duchess and her brother when he presents her with the (fake) severed hand of her husband – which took place in pitch darkness. It was so scary and massively atmospheric.

The Duchess was the first play in the new season of this new theatre, so it was excitement all round really. The dim light and enclosed space was perfect for the macabre, unsettling Malfi. I had previously seen the Duchess at the Old Vic, starring the divine Eve Best, so I was fully prepared for all the death and disturbing scenes. This version was a lot more intimate, more level and understated than the Old Vic version, making it accessible but a bit less passionate. Gemma Arterton was lovely as the Duchess, playing her as a more earthy, good-hearted, simple and pure aristocrat (admittedly with a heap of sexual confidence and knowledge of her own mind). She was less ethereal, less majestic than Eve Best, and although she brought great clarity to the character, she didn’t quite ascend to the exaltation and anguish of a real heroine, which is what you need at the crescendo of her character.

The supporting cast were accomplished and often powerful – particularly David Dawson as the incestuous brother Ferdinand, who really steals the show. He is clearly unhinged even in small doses from the start of the play, and his descent and collapse as the play goes on was captivating and masterfully done. Sean Gilder’s Bosola was sympathetic but quite shouty, and Alex Waldmann as Antonio was a model of handsome devotion but their partnership lacked a bit of chemistry.

My £10 standing ticket was good value and it seems that my view was no worse than some of those in the expensive seats. But in the Wanamaker, restricted view really does mean restricted. A lot of action on my side of the stage I couldn’t see at all, and ditto anything right at the back of the stage (however gory those waxworks were, I can only imagine them). Which was a shame, but I am tolerant and was enjoying the whole atmosphere anyway. I will definitely go back and have already booked for several of the new season’s plays – standing though, as those guys on the benches did not look comfortable. 

Brixpig x