On The Art of the Pre-Show and Post-Show

My friend, Terry Eden, wrote a post earlier this week about pre- and post- show experiences in the theatre and it's got me thinking... I go to the theatre at last twice a week so I see a lot of shows of all kinds (big, small, funny, serious, experimental, fringe and more) in a lot of venues so I have some thoughts on this.

One example that Terry shares is the immersive element of the current version of Cabaret and how that might heighten one's experience of the show. I may be in the minority here, but I don't like it and find it really jarring. It's a far cry from the seedy dive depicted in the story - or at least a far cry from how I imagine it to be. It adds huge cost to the show as they have two casts every night and it added nothing for me. I was stood in the bar area and just felt I, and others, were in the way. Worth noting that I find Frecknall's Cabaret a bit too shiny anyway - style over substance - in what is such a dark tale. Give me Rufus Norris's version any day. Maybe that's colouring my judgement.

I digress. I go to the theatre a lot, and some of the time, I go on my own. Having something to look at before I go in to take my seat is a welcome change from doom scrolling on my phone but there's rarely anything to look it, even less likelihood of a seat or somewhere to charge my phone. 

A bit of a display about the history of the theatre itself and previous productions is a nice touch (Drury Lane has this, and sometimes The National). I'm always fascinated by the posters from previous shows that you see at Soho Theatre and the Noel Coward Theatre and others - but why are they on the stairs where you can't linger and take in the information? Back to the Future and The Devil Wears Prada have a bit of set dressing in the foyer which is a nice touch and creates a photo opportunity which helps with spreading the word on social media. I like mooching in the National Theatre bookshop too. 

Back in the day, in my local rep theatre in Worcester, there was always a display of production photos and some info about the cast, as well as a rolling art exhibition from local artists and the bar was often open after the show, which meant you could get to meet the actors and it created a really convivial atmosphere.

Although I'm still of the view that I'm happy to have the magic happen in the auditorium, it would be nice to see more pre- and post-theatre activity - especially when the show finishes at 9 pm. I don't really understand why the bar in the theatre isn't open at this time. After all, they're missing out on a couple of hours of selling time in the bar and merchandise sales. Maybe they tried it, and people didn't want to hang around, so it wasn't commercially viable? Perhaps others can fill me in here.

Another missed opportunity is relevant sponsorship and partnerships - The Devil Wears Prada is crying out for a partnership with Selfridges, Harvey Nicks, Harrods, Vogue or the V&A Museum. Also, their merchandise really misses the mark. It's the same old same old hoodies, t-shirts and mugs. Why aren't they leaning into the fashion element? Admittedly, they're selling Elton John sunglasses but they're expensive and out of reach for most customers, many of whom are younger fans. Also, the programme is printed on magazine paper but isn't designed as a magazine. Another missed opportunity for interesting content, selling merchandise off the page, sponsored features and advertising. Yes, it would have taken more budget, but the effort should be worth the reward. 

And as for the bars... often eye-watering prices, sub-par service, and really unhealthy snacks. In colder months, why isn't every bar selling hot drinks? I don't drink alcohol much at all and would rather have a decent coffee before or even after a show. Am I the outlier here?

I love the theatre, and these are small gripes versus the enjoyment I get week-in week-out in venues across London. However, production values are production values. I'd like to see these extended to other areas of the experience more often. On that, Terry and I agree.

My Month in Theatre: November 2024

A round-up of shows and performances seen in November 2024. I've been challenged by a friend to keep a better record of what shows I've seen. At the moment, most of them are just listed in my calendar app which is not great for managing an archive. So whilst I work out the best way to do this, I'm just going to blog about them.

Friday 1st November - A Little Piece of You at Theatre Royal, Drury Lane. The less said about this, the better. It was dreadful. Despite a stellar cast - Mica Paris, David Bedella, Dujonna Gift - nothing could save the dire material. I don't know if the book was rushed or just not well thought through, but it did not work. Some of Kjersti Long's songs were OK, but Kjersti's vocals could not match her co-stars and she ended up screeching the songs to get the volume needed. The concept of the play was poor. The female characters, because they were depressed, seemed to spend a lot of time in bed. This does not make for an interesting scenario to watch. David Bedella was not given a single note to sing. This was a vanity project and a half. Did impresario Dad have delusions of grandeur, I wonder? It was so bad, I had to take a week off going to the theatre to get over it! Note to Kjersti - don't stop making music and don't stop trying. But maybe walk before you run and get better advisors around you who are not afraid to critique your work so you can improve. 

Tuesday 12 November - La Clique at The Spiegeltent in Leicester Square. Lots of fun in a lovely venue in the heart of theatreland. It's a mix of magic, comedy, dance, trapeze and stunts. Recommended. Here's a review for a better flavour of what to expect. Booking now until 5 January 2025

Friday 15 November - The Elixir of Life by Donizetti at The London Coliseum. This ENO production was sumptuous and fun. They made full use of the stage with a gorgeous set and costumes. We had a full chorus too and glorious soloists. I liked that they had transposed the setting to the 20th Century as it made it more relatable and gave them scope to create some new effects which I hadn't seen before from the ENO. Here's a review from The Guardian for a more in-depth look at the piece. Booking until 5 December.

Saturday 16 November - Her Story: Mozart at Theatre Royal Drury Lane. This was a semi-staged concert version of a new musical about Nannerl Mozart, Wolfgang Amadeus's older sister. I didn't even know he had a sister, or that she was also musical. It was fun to see a new story showcased in this way. It's still a work in progress but I hope it gets the resources and time to develop further. I really enjoyed it. I got all the feels with several of the songs. My body knows if the music is working way before my brain does!

Sunday 17 November - Club Life at the Omnibus Theatre in Clapham. Oh my, this was wonderful. It's the story of Fred Deakin (club DJ and one half of Lemon Jelly now a designer and academic) as told through the music he listened to and the clubs and parties he created between around 1980 and 2000. It's an immersive experience in that Fred somehow manages to recreate the atmosphere and vibe of each club through music, visuals and some story telling. The audience is encouraged from the get go to get up and dance during each club sequence. The 2.5 hours flew by and I found myself dancing throughout and came out absolutely buzzing. In experiencing Fred Deakin's story, I was also reliving some of my own story (we're a similar age) and was remembering my nights out at various parties, clubs and festivals. Here's a friend's review.

Monday 18 November - The Glorious French Revolution (or why it sometimes takes a guillotine to get anything done). A very clever, energetic and original piece of work to give us the potted history of The French Revolutions (spoiler alert, there was more than one). If you've ever watched or listened to Les Miserables, this play will give you the backstory in a very entertaining and thought-provoking way. I loved it and would recommend it. Yes, it's absurdist and maybe a tad experimental, but I think it works. You can read my review here. Playing until 14 December. Tickets available here at just £22.

Tuesday 19 November - Club Life at the Omnibus Theatre in Clapham. It was so good, I went twice and it was just as good the second time! 

Thursday 21 November - A Christmas Carol-ish at @SohoPlace Theatre. I was lucky enough to be invited to press night. This is Nick Mohammed's brainchild and is a transfer from 2023's version that ran at the Soho Theatre. Unfortunately, due to technical difficulties, we only got to see the first half (which was excellent, I might add). Unfortunately, I haven't been able to go again yet to see the full thing. The reviews from those who have seen it have been positive, such as this one. Booking until New Year's Eve. Tickets available here.

Friday 22 November - Wicked Part 1 - the movie at Vue Leicester Square. OK, so it's a movie not a live show, but I did go with a bunch of musical theatre enthusiasts who I've been hanging out with intermittently in a fabulous, but now defunct, musical theatre choir and piano bar karaoke night in Covent Garden. I'm not the biggest Wicked fan. I have seen the musical live, albeit 15 years ago. And yes it was fabulous. And this is a massive budget film so it's bound to be great, right? Well it is good, but I'm not sure it's mahoosive budget good. It's a fun movie and well worth seeing, even if you're not into musical theatre. Ariana Grande is excellent in it. I didn't know she could be so funny. Cynthia Erivo can really sing, but I didn't get that from the movie. The cinema was a bit chilly that night so it's possible I was distracted by not being wholly comfortable. I expected to get 'all the feels' but I didn't.  Maybe I need to see it again! Regardless, the songs 'Loathing' and 'Popular' have been constant earworms since so something's working with the film or its marketing! Here's a review of the film that I think is fair.

Sunday 24th November - Dirty Rotten Scoundrels at The London Palladium. OMG. This was absolutely fantastic! This semi-staged concert version, based on the movie of the same name, starred Ramin Karimloo (move over Jonathan Bailey, Ramin just took your place as No 1 in my hit parade!), Hadley Fraser, Janie Dee, Carly Mercedes Dyer, Rufus Hound and Lauren Drew. It was so funny and so brilliantly sung and acted. I couldn't have wished for anything better. I was even sat in the Grand Circle (which I don't often do because I like to see the detail), but even from there, the atmosphere was electric. I would love to see a fully-staged version of this. A weekend of this was not enough!

Monday 25th November - The Happiest Man on Earth at Southwark Playhouse. I've been lucky enough to see a couple of other plays recently that cover holocaust experiences, namely Rose (starring Maureen Lipman) at The Ambassador's Theatre and The White Factory at Marylebone Theatre. Both were incredibly moving. This one-man play in the studio theatre is right up there with its West End cousins. 

It's a quite fantastical tale of one Jewish man's experience before, during and after World War II. It's based on the autobiography of Eddie Jaku. It starts with Eddie finding out he's no longer welcome at school, soon followed by the deadly and infamous Kristallnacht and then a spell in Buchenwald, escape and spells in Auschwitz. Add in the physical abuse received from the Nazis, losing friends and family in the most appalling ways and a near-death experience due to cholera and typhoid; it's a miracle that Eddie survived at all, let alone live to 100 and share his story. Kenneth Tigar stars in what's described as a Tour de Force performance. And it really is. Kenneth is no spring chicken at 82 but is a seasoned and very talented actor. I found his performance tender yet gripping and funny yet moving. Booking now until 14 December. Highly recommended.

Tuesday 26th November - Flo & Joan, The One Man Musical at Soho Theatre. This is one of the funniest things I've seen all year! It's a repeat of their Edinburgh Fringe success transferred to The Soho Theatre for just a week. I got lucky with a last minute ticket. Flo & Joan are extremely talented writers, musicians and comedians. Although on stage, they are not the stars of the show. The star of this one-man musical about the main man of musicals is Andrew Lloyd Webber as played by George Fouracres. He plays him as pompous, posh and pugnacious and is an absolute delight. The musical numbers draw on familiar themes from ALW's most famous musicals. The low budget aspect of the piece just adds to the hilarity. We also hear about ALW's, um, various wives and how and when they got together, his relationship with Tim Rice as well as some of the rumours and stories about him. It's terrific fun, musically very clever and very tongue in cheek. I loved it! It was even better sharing the evening with fellow musical theatre enthusiasts to be able to laugh at some of the more obscure references together. There's a much better review than mine here. The show is returning to London at Underbelly Boulevard Soho 16 Jan to 2 March with tickets from £20 available here. 

Thursday 28 November - The Simple Life & Death at The Pleasance Theatre. My first visit to The Pleasance Theatre, but definitely not my last. This was a fun parody of Paris Hilton and Nicole Richie's The Simple Life. ShayShay plays Paris and Fizz Sinclair plays everyone else. Things quickly turn for the worse when the pair reunite for the 20th Anniversary Special Edition of the show. They have invited guests ready to interview but just as they're about to go live, there's a murder. Can Paris solve the mystery? Are the celebrity guests to blame? It's very silly, very funny and very camp. Sinclair's impressions are spot on and they both have the noughties vibe down to a T. Recommended for a light-hearted, fun night out in a super venue with a great bar and a great atmosphere. Booking now until 7 December.

Saturday 30 November - Alice in Wonderland at Brixton House Theatre. This one was nearer home and another really lovely venue. This is a retelling of Alice in Wonderland, set in modern day Brixton where Alice and her Mum are having a row during a tube journey. The tube train becomes the rabbit hole and we follow Alice on her journey through Wonderland - in this case, a never-ending tube ride - and we meet some of the other travellers on the same train. The play loosely follows the book and we see versions of the White Rabbit, Mad Hatter (Chatter), Cheshire Cat (a virtual entity), Mock Turtle (now a tortoise) and the Dormouse (a rat in our tale) and of course, the wicked Queen. It's quite a complicated story but the children in the audience the night I went all seemed to be really into it and engaged with what was going on. If you're looking for something a bit different, this might just fit the bill. The small cast worked really well together to carry off the range of characters they played as well as the increasingly frenetic tube ride that they're on. The sound effects were of particular note and they were very effective. There were enough puns and London references to keep the grown ups happy too and the rap style music was a fresh addition to the proceedings. This is definitely a play rather than a panto, although there is a little bit of audience participation in the second half. Recommended. Booking now until 4 January 2025.

The Glorious French Revolution (or: Why Sometimes it Takes a Guillotine to Get Anything Done) - a review

If history lessons had been more like this when I was growing up, I might just have paid a bit more attention to history that was older than The Great War. And I’m ashamed to say that even though I know Les Mis pretty well, can happily sing One More Day at the top of my lungs at my favourite piano bar in Soho, and was taught French from the age of 6 by my French next door neighbour, Mimi, and even my first boyfriend was a young Parisian (and oh so French), I know almost nothing about that period of history. I guess famine, death, a spendthrift king and queen, and a reign of terror don’t make for the best conversation.

If you’re expecting a BBC or ITV style period drama, this isn’t it. If you like your histories more Horrible than History Channel, but definitely for grown-ups, this one is for you. It is an experimental piece with more than a nod to absurdist theatre, but the cast of 5 know what they’re doing, and you’re in safe hands. Their high energy and absolute commitment to all the roles they play (and there are a lot and they interchange with each other seamlessly) coupled with innovative use of the small stage, interesting, if (deliberately) makeshift, props, great sound effects and lighting make for a  90-minute rollercoaster journey of the who, what, how and why of the French Revolutions (spoiler, there wasn’t just one). 

This production, brought to the stage by YESYESNONO was bonkers, fast-paced and fun, yet hard-hitting and thought-provoking. If you’re looking for something a bit different in an intimate setting, then you will enjoy this show. It’s not perfect; the last section didn’t quite land for me as well as it might (I had to read up on that bit of it), but, overall, the piece is brilliantly inventive, and it’ll give you something to tell your friends about afterwards and certainly something to ponder on your way home. Was it theatre, performance art or something else entirely? And why don't we know more about this history from our nearest neighbours. And if you've ever seen Les Mis on the stage or screen, then you really need to fill in the gaps in your knowledge with this play.

Tickets are a bargain £22. (See, theatre doesn't need to cost you an arm and a leg, even in Central London). Playing until 14 December at the New Diorama (near Warren St tube). There’s also a charming cafe bar there. Tickets are available now from the New Diorama website.

[Tickets gifted to me with no expectation of a review.]

National Kindness Day 2024 is today!

I was reminded about his in my Facebook memories and, I'll be completely honest, it was not on my radar at all until it cropped up in my memories. And that's a shame as the campaign is rather lovely.

Kindness is a simple act and can be something very small but even small acts of kindness can have a great impact on both the giver and receiver. However, these small acts of kindness can be forgotten easily when we're tied up in day to life and its associated busyness. It's also fair to say it's sometimes hard to remember to be kind when faced with unkind behaviour. Remember the saying 'Behaviour breeds behaviour'.

If you need some ideas for how to be more kind today, you'll find them on the official website. The organisation is also running a kindness survey which you can find here.

In the face of autocracy, cost of living crisis, economic uncertainties, climate change and more, let's remember to spread a little more kindness every day. The small things do make a difference.

So long, farewell, auf wiedersehen, adieu to Ada Lovelace Day Live

Ada Lovelace Day, 9 October 2018, at the IET.

Photography by Tracy Howl, sponsored by Clarivate. Via Paul Clarke on Flickr.

I've just read the news that the long-running Ada Lovelace Day and campaign is closing its doors. Founder, Suw Charman-Anderson explains the demise in a blog post over on Facebook. I hadn't realised how much DEI work in STEM in particular had closed. Alas, this is a sign of the times. I am sad that the term 'DEI - diversity, equality, inclusion' is now toxic. It's time to reframe it so we can do the same work without the baggage that some associate with the term. Just because large corporates are dismantling their DEI efforts, it doesn't mean the work is over.

As for STEM (science, technology, engineering, mathematics), yes it's important. But it's even better if you add the A for Art to make STEAM. I'd rather be steaming ahead than a wilting stem. Maybe that's a personal bias given my passion for the arts as well as technology. I'd like to think it's more about having well-rounded people creating and managing systems, processes and software that humans can actually use. There is an art to most science, no?

And as for events, it's a tough time. Without question, live business events have not recovered fully post-pandemic. There is a whole generation of workers who started their work life in 'work-from-home' mode and never experienced the benefits of learning by osmosis by being with the right people in the room. And more so, they have not had the same exposure to live knowledge and networking events early enough in their careers.

Don't get me wrong, working remotely can be great and I have routinely worked this way for 20 years. Most of that time, however, I was also going to networking events, probably at least two a month. And at times, it was probably two a week in the early noughties. Networking in person was crucial for me to build my network and to learn from others - not just from speakers or panellists, but the other people in attendance.

It feels like everything has become more transactional - I do this for you and you do this for me in return. Unfortunately, real life and work are not like that. The returns you get for spending time developing relationships in business and/or spending time learning may take many years to reap rewards. Those who view networking as purely transactional are missing the point. It's not who you know, it's who knows you. It's about building your personal brand. It's about learning from others. It's about developing your communication skills.

So yes, I'm sad that Ada Lovelace Day is the latest to close its doors, but I can't say I'm surprised. I also think it's important to recognise that knowing when to quit is also a great skill and a huge challenge - more so when your work is mission-led.

I hope we'll see a future iteration of ALD and wish Suw Charman-Anderson every success in whatever comes next.

Sustainability, fashion retail and the economy

The clothing mountain in Chile's Atacama Desert was visible from space. Image by SKYFI via BBC
BBC article: https://www.bbc.co.uk/news/business-66985595
Skyfi article: https://skyfi.com/en/blog/skyfis-confirms-massive-clothes-pile-in-chile

Buying and wearing second-hand clothing is on the up

It's currently increasingly popular to buy goods second-hand, especially clothes. I'm a fan. I've been buying second-hand since I was a teenager, and growing up, I got my cousin's hand-me-downs so wearing gently-used clothing is not a new thing for me. It seems others are catching up with me as suggested by this FT article. 

Can it be profitable?

It's all much more accessible now, of course, with the rise of eBay, DePop, Vinted, Thrift+, Vestiaire Collective et al. That said, the price per garment that one can achieve on most of these platforms is next to nothing. In fact, the postage cost is often more than the garment cost. The effort to put something on sale is often more trouble than it's worth. And the economics bears that out with most of these platforms finding it very hard to turn a profit. 

So. Much. Stuff.

A quick glance at any of these platforms goes to show just how much perfectly good and usable clothing there is out there. And how much dross there is - I'm looking at you, Shein and Temu. And that's the tip of the iceberg. I'm afraid I am guilty of having way too many clothes that could easily last me more than one lifetime. Yes, I need a good clearout, but it also shows how much oversupply there is. I know I am not alone in having too much stuff. And that's just the second-hand clothes sector.

If you look at the new stock availability, it is endless. I recently visited London's Petticoat Lane on a Sunday. There are over a thousand stalls there selling new stock - a lot of it is overstock from High Street and online fashion stores and their suppliers. The amount of stuff available made me feel physically sick. Some of it was relatively high end and being sold for £5 or £10. And this is *overstock*, i.e. surplus to requirements.

And this just leads to waste, mountains of it, since so many clothes end up in landfills, as highlighted in this BBC article and this article by Skyfi.

Shops are everywhere

That brings me to the High Street, both virtual and physical. It's a global shopping mall where you can buy everything and anything - a lot of it very cheaply. There are shops everywhere you look selling you something. There are clothes to be bought everywhere and extended opening hours in many shops meaning fewer staff are working at any one time because they're spread so thinly - the same number (or less) of staff spread over longer hours. (And they wonder why shoplifting is on the increase; well, staffing levels are one of the reasons.) As a former fashion retail manager in the early 1990s, this is something I've been watching evolve over the last 3 decades.

It's the economy, stupid

The retail sector employs a lot of people and the money earned from those jobs pays rent and mortgages, transport, food, holidays, entertainment, utilities and more. It's a hugely important part of our economy. According to Statista approximately 3.5million people work in the retail sector in the UK and information from a recent House of Commons Library research briefing paper states that the economic output of the retail industry was £112.9billion in 2023, accounting for 4.9% of the UK's total output. That's a lot and if it reduces, we have to work out how to manage the shortfall in the economy and what to do with the people who have lost their jobs. It's a not insignificant task.

I get that retailer margins can be very slim. I get that they're in an extremely competitive market, and they need to have enough of the right stock in the right place at the right time. Seriously though, how can it be a positive to be creating so much stuff that will never be bought or used and will just end up in landfill or on some container ship on its way to a poor country and leaving them to deal with the mess. And what about the energy wasted on making stuff no-one is going to buy? Or the time spent thinking up new fast fashion items that nobody wants or needs when that brain power could be going to something more useful and less greedy on our natural resources?

External pressures can force change

The external pressures are changing. The word sustainability crops up all the time. What do we do with the mountains of rubbish we're creating? How do we stop succumbing to fast fashion (which creates stuff that is not attractive to the second-hand market)? And what happens when consumers really do change their attitudes and stop buying nearly so much at all - new or second-hand? There's a lot of talk about reviving our High Streets, but when many of us actively buy less and/or switch to second-hand goods, what happens to our High Streets, and, in turn, the economy?

There are things I really love about the physical retail sector. It's a buzz to be selling to a customer and finding the exact right outfit for them for a special occasion. It's fun to get to know your regular customers and have conversations with new people every day. I love the bright lights and buzz of Oxford Street. And as a consumer, I love wearing new (to me) clothes and putting outfits together. in creative ways. But at what cost? The cumulative effect of my own consumption, multiplied by the millions of other women and men like me is terrifying. Inadvertently, our behaviour has led to this massive oversupply of stuff.

Are we at a tipping point for change? 

Answers on a postcard please..

Meanwhile, you might be interested in taking part in Second Hand September if you're in the UK.