I had never before seen an opera, and felt this was something I should do. When I was browsing this season at the Manchester Theatres, I was glad to see La Boheme on the programme. As a Rent fan since my mid-teens, I expected that the themes and plot of La Boheme would be accessible, and make the whole opera experience easier.
Still I didn’t know quite what to expect when we got to the theatre. In some ways an opera in a language I knew better than Italian may have been a better call, but I now know just how much of Rent is taken from La Boheme, including throwing artistic material into the burner during the first scene, a flitation through candle-lighting, dancing on the tables and Mimi overhearing the male friends discussing her health as the setup for the final scene takes place.
I’m not sure I would ever go to see another, but I am glad this was my opera, and would recommend anyone to give it a try.
Totting up beforehand we realised we had watched about half a dozen of Shakespeare’s plays between us, although that did count the three times I have seen Romeo and Juliet as one. But of course we have had exposure to the rough plot of many more.
We laughed out loud at this. The actors were lively and the script did not run through each play formularically, but instead tackled them in vastly different manners. From a cook show to a rugby match through to just skipping between main scenes, each was satisfying to watch. The two of us ended up on stage for the audience participation though, with my husband having to scream as I ran back and forth.
Good customer service from the Little Theatre too, who came to find us in the interval and ask if we wanted the same seats next year (a definite yes from us).
Play number four of our 2016/17 season ticket was Kindertransport, this year’s serious drama. It was indeed very serious, an intense play with very few light moments. Of course this is to be expected from the subject matter, and certainly we weren’t expecting a light-hearted comedy.
We live through Eva’s trauma and recovery, and how that effected herself and her relationships within her family. There were so many points where I had tears rolling down my face, as recovery seemed impossible. The actors were very powerful, in what must have been an emotionally tiring play.
In terms of angles on the impact of war theme, this stood in sharp contrast to Pals, which had been a story about men’s friendships, as instead a story about women’s family bonds. My only sorrow is that the playwright ended it where she did. It could easily have turned more towards a reconciled note at the end, although of course that would lessen the impact.
I had barely heard a song from Ragtime before we saw it this weekend – but it was the most suitable-looking show on in London this weekend with tickets available that we hadn’t already seen, so front-row tickets were booked.
Of course we didn’t know what to expect: but from the opening number it was clear we were in for something which was both deep and rocking. There are some seriously catchy tunes, heartbreak and politics. A lot of it is looking frighteningly relevant to the way the world is currently moving (as we saw this in the week Trump won the presidential election).
I really enjoyed the way this production had all the instruments onstage, and a simple set of two walkways that swung back and forth and was used imaginatively. Part of the fun was how the pianos were used as furniture on stage: I was amazed how much jumping on and off the tops was manageable without slipping or standing on the keys.
Other bits of fun whilst we were in London: John Soane’s museum, a fascinatingly packed house of everything he had collected in a lifetime, and of course a trip to the London Review of Books bookshop.