At first glance it would seem that would seem that these are two very disparate events, but in reality they have one big thing in common, they both were about observation, one of society in general and one of human interaction and romantic entanglements.
I stumbled across Three More Sleepless Nights at the National Theatre when the flyer came across my desk one day. To be honest it was seeing that Ian Hart (Backbeat, Harry Potter and the Philosopher's Stone, the American TV series Dirt) was in the cast that really interested me as well as the price (£10) and the author. It's an early play by Caryl Churchill who's best known for writing Top Girls and the more recentish A Number which I saw in it's original incarnation at the Royal Court with Michael Gambon and Daniel Craig. (It's the play about the clones which was made into a TV version either earlier this year or last)
On the whole, I have a hard time keeping up with what's on at the National - three theatres, each with multiple productions that perform in what I see as random repertory. Productions overlap start and end dates, some seem to pop back after you assumed they were over. This production seemed to make the situation even more complicated. Just a handful of performances, stuck in the middle sized National space, the Lyttlelton, over Helen Mirren's Phedra set. Litterally. Pushed as far downstage as possible, the set of an ordinary bedroom, was placed directly on the Phedra set. The back bedroom wall was almost nonexistent so the vista above and beyond was Phedra's grey stone set.
The majority of the start times for these handfull of performances were 6pm, with the occasional 8pm second show. At a short 50 minutes long, this seemed reasonable but I have been wondering what was in it for the National. All tickets were £10. You had to reserve your seat but no matter where you sat you paid £10. Very reasonable. I assumed at first that the early start time meant that they could still do Phedra later, but I don't think it could really have been an option as that would mean less than an hour to get the audience out, tear down the Sleepless Nights set and dress Phedra. Possibly, having not studied Phedra's performance times, there was a gap in the rep schedule and it wasn't feasible to remove Phedra.
I did study the cast and crew biographies for a clue. In addition to the wonderful Ian Hart (who by the way will be appearing soon in the West End with John Simm in Speaking in Tongues - the play version of the film Lantana - I'll be seeing it), the other actors were all, judging by their credits, accomplished and always working. They were Lindsey Coulson, Ian Hart, Hattie Morahan and Paul Ready. Maybe the clue was with director Gareth Machin. This was his first directing project on the National stages. He is associated with the National Studio and prior to that was the Artistic Director of Southwark Playhouse after Thea Sharrock (Equus). Maybe all the elements came together at the right time to make it possible to do a low risk piece. Great idea. Maybe not the right piece for the space though.
Here's the National's description of the play - 'An explosive play abouth human interaction and love tangled relationships'. I'd agree with everything except 'explosive'. As the title hints, the play is divided into three sections. Each section concentrates on a couple, either getting ready for bed or trying to sleep. The first features Ian Hart and Lindsey Coulson in tour de force performances of a bickering couple. A loudly bickering couple. Accusations are thrown, then thrown back, the tables turn, the characters intentions blur. It's a great feat to pull that one off. It was very believable, entertaining, funny and recognisable. Within the fast paced, overlapping dialogue you can hear truths, their truths, emerge, used as artillary to obliterate the other. Loved it - it kept me transfixed.
The second scene was the downfall. There were alot of silences as this couple slowly fall apart - literally and figuratively. This particular scene brought any shortcomings the production had to the forefront. I was in the second row as I had heard it was an intimate play and although it helped being closer it was still evident that it would have worked better in a smaller theatre. The enitre scene moved in and out of being very static. Many silences, including extended 'in bed not doing alot' moments.The scene started very much in contrast to the first scene. Any communication was passivly aggressive and only audible through series of grunts and groans as they tossed and turned. Interesting, for a second. Once you got it, you got it. I'm not sure if it was the actors but maybe more the direction and the space. How do you play silence? Especially when a couple are lying in bed with dimmed lights? Honestly, even at 6.30pm or so, I had difficulty keeping my eyes open.
It all comes to a good conclusion with the third scene, which effectively takes elements from the first two scenes and puts them into a scenario which makes everything that came before more clear. (I wondered, more than a few times, what the second scene was all about while I was watching it).
Overall I enjoyed it. It was interesting and I liked the structure. It was very much about observation as I doubt anyone would come away really caring for any of the characters. That would be almost impossible to do in 50 minutes. It was a good unpretentious evening, which is always welcome. Too bad it wasn't in the the smaller Cottesloe Theatre.
Directly after the performance I was on a bus, headed to Hoxton for an intimate pre Anniversary tour gig by Gang of Four. They are my 'friends' on MySpace which I use for keeping up with my favourite bands, and they had a competition for free intimate gig tickets. I didn't enter as you had to buy tickets to the main gig at the HMV Forum to win. I hadn't planned on going so I didn't enter. They posted another link about a week later through NME, this time no strings attached. I have to say that I hesitated for a moment thinking that they were having a difficult time shifting a few tickets to a small gig. Could that be a good omen? I knew that there were only two of the original four remaining. I went through that before when in the late 90's I saw The Brothers Johnson open for Isaac Hayes, Or should I say the Brother (singular) Johnson. As there were only two originally, this was a huge disappointment. Anyway, I took the chance, and was rewarded by being put on the list.
My exposure to Gang of Four was initally limited to the first couple of albums, YEARS ago. I won't say how long in order to protect the innocent. I wasn't living in the UK at the time and there never seemed to be much to be found about the band at the time, especially as this was pre internet. My interest was then revived when they released the excellent Brief History of the 20th Century, sort of greated hits, more overview album in 1990. Anyone wishing to get into their music should start there. For some time I sort of wrote them off after their foray into the more populast sounds of 'I Love A Man in a Uniform' (the irony was lost on popular culture as the song was adopted by any TV show, hen night or gay party as the anthem for oggling men in uniforms). After this they sort of disappeared from my radar. Every so often I'd play the Brief History CD, now with ipod it rotates more frequently. it wasn't unitl My Space that I really began to look more carefully at the band and what they were all about. To say all that prepartion in no way prepared me for how amazing they are live is an understatement.
Doors opened at 8pm and it stated in my email - get there early, band starts 8.30ish. I didn't have too much control over how long it took to get there. I arrived at The Macbeth pub in Hoxton Street around 8ish. There was no queue outside and only a handful of punters once inside. The Macbeth is a smallish pub dominated by the bar and at the far end of the room they built a stage complete with lighting rig. 8.30 came and went. By this time it was pretty full. The only thing that kept me sane during the wait (I was on my own) was the great music they were playing. A real mix from the 60s, 70s and 80s. Real quality. As those of us in the middle jostled for a good view without a supporting pole in the way as we reached 9pm. It was getting mighty hot in there and I wondered how long I would be able to hold out. Overall it was a great crowd. Mix of ages - obvious fans from day one mixed in with newer, younger fans. No uber fans in sight which was a relief.
They finally hit the stage close to 9.30pm and it was worth the wait. To an extent I find it difficult to describe a bands music with any justice. I never, ever consider descriptions that compare bands - I don't think it does anyone any good.Imagine chainsaw guitar, wall of sound guitars often using a rhythm guitar pattern, sometimes staccato mixed in with thumping r&b tinged basslines and powerhouse rhythmic drums. Vocals have a punk edge to them, conveying, thoughts in less of a sing-songy way than as statements - sometimes lyrical, sometimes authoritative and sometimes matter of fact. That's the best I can think of to describe it.
My fear of them being elder statermen trying to relive their youth was soon dispelled. The two original members - Jon King and Andy Gill - performed like their life depended on it. Jon King with his sometimes demonically possessed look (not forced) and Andy Gill's guitar playing were spot on, lifting what could have been a quick trip down memory lane to a first rate live music experience. It helps that their music has not dated. It sounds as fresh as it ever did. Live, great songs and musicianship is transformed into a energetic, visceral, heart pounding, and body bobbing good time.
They played all their well known tunes (with the exception of 'I Love a Man...' and the other song from that album which never really made sense to me within the Gang of Four canon - 'Is it Love?') - 'To Hell With Poverty!', 'Damaged Goods', 'Anthrax' and the fantastic 'What We All Want' being my highlights.
I love Jon's lyrics, very politically aware and wonderfully observational. He plays with words and references literature. Also, what I had to keep reminding myself that this sound was being made by only three instruments - Guitar, bass and drums. It was so full. A sound that many bands could not even begin to replicate with more. I must give a shout out to the two newest members of the band - Thomas McNeice on bass and Mark Heaney on drums (who became a father the day before - that's dedication). Both exceptional and integrate seamlessly into the band.
All in all, 90 minutes of excellent music. I have found of late that one could easily forget what a great live gig really is. This was the real deal.
During a few breaks Andy entertained questions from the audience. My favourite - 'Is it true you hate Coldplay (sic)?' - Andy 'Music for bedwetters'. I think that pretty much sums it up.
Showing posts with label Gigs. Show all posts
Showing posts with label Gigs. Show all posts
Gang of Four - intimate gig (The Macbeth 24/8/09) + Three More Sleepless Nights (National Theatre 24/8/09) 26 August 2009
Blur - A View From The Crowd (Hyde Park, Thursday 2/7/09) 7 July 2009
It's all fine and dandy adding the second date to accommodate the demand for tickets, and presumably this was an option from the beginning, but it completely negated the original premise. I think those who immediately bought tickets were given the raw end of the deal because all of a sudden they were getting sloppy seconds. Then, to make matters worse, Blur have their official premier at Glastonbury - before both Hyde Park dates. So, the Friday people who bought tickets first were now getting sloppy thirds and Thursday people, sloppy seconds. I find that aspect really strange and as I said, if I were a huge fan, I wouldn't have been too pleased.
When I say I'm not a huge fan, I'm not saying they are just 'OK' and 'I can take them or leave them'. That's not the case at all. I think they are wonderfully talented and fall within my definitions of great bands. My definition of a great band? A band that sound like no one else. You immediately know who it is within a few notes, even without any prompting or intro. Other bands are compared to them, not the other way around. Of course as with all bands, you can occasionally hear influences, but when you hear Blur, you know it's Blur. It's the combination of voice, guitar, drums, bass, songs and arrangements and they sound like no one else.
I think I've said enough about the band, we all know how popular and loved they are so there really isn't much I can add to what has already been printed and discussed. What I haven't seen discussed or written about is what it's like being in a venue that large, with that many people, on a hot, hot, hot day so here it goes...
I got my ticket from a friend so I didn't have it on me to refer to the rules. I was wondering what the policy was regarding bottles and the like because as many of us know, there have been many instances of bringing a bottle of water only to have it confiscated under the no bottles or outside food law invented to force you to pay exorbitant prices once inside. I didn't want to take a chance so I brought nothing but a battery powered hand fan and a baseball cap, just in case, because as I said before, it was hot, hot, hot, hot. When we passed through security, which consisted of a brief look into bags and a quick squeeze on the bottom (of the bags!!) we were through, and I did see bins of discarded water bottles so I thought that answered my question.
So we're in. Without the throngs of people (it was still early-ish) it resembled a country fair. What I think used to be a grassy field looked more like what a barn would look like once you removed all the bales of hay. Lining both sides were numerous eating places - Mexican, four different burger outlets, Thai and Chinese food and of course the beer tent. We went there first, for me it was to get water (£2 for a small bottle). Good on the organisers though for providing free drinking water (next to the toilets - fragrant!) where you could refill your bottle.
We found a small patch to set up camp and tried to stay cool. It was so hot, my battery powered hand fan was only blowing hot air. I really wished we had real grass (grass that wasn't dead) to sit on instead of that hay. I think others would have hoped for the same as we all had hay remnants on our clothes and most unappealing were the numerous bum cracks with hay, due to the long slung trouser look.
One of the support bands were on (we missed the first one. Then there were the Crystal Castles (or Crystal Castle?) which I found irritating and pretentious - they sounded as if they were using a Kraftwerk backing track - then some other band as Friendly Fires pulled out - one of those Killers, Coldplay type of bands - and then Foals who I would have sworn were performing old Gang of Four demos). The people next to us pulled out this huge picnic - containers of fruit, guacamole, drinks - how did they get that stuff in? Of course this inspired my friends go in search of food. One came back with a £6.25 plate of Thai chicken on rice, the other got a Japanese vegetarian dish for almost £7. I saw a few Dominoes Pizza boxes go by and was told that there was a Dominoes stand, but I wasn't willing to pay £17 for a medium marguerita or pepperoni pizza nor was I prepared to pay £5 for a slice. I had an ice lolly.
Now to the Blur performance. Everyone stood up and there was plenty of room around us all. We were about halfway back so had to watch both the large screens and the stage. Here is where I started having problems. I have to wonder about people in general and what they consider a good time. First, there was the person way down nearer the front who made a flag out of what looked like an orange boiler suit and was waving it with glee, through the whole show. Why? Then there were the numerous bottles (all plastic, all with liquid still inside) that were thrown all over the place. It began to look like a bottle attack at one point. Lovely. Moving on to the two blond girls standing behind us, dressed as if they would be spotted by the band, who proceeded to scream and shout 'I love you Damon!' to the back of our heads. Now remember, we were in a crowd of 55,000 people, halfway back from the stage. Does this sound sane? I almost turned around to tell then ' you know he can't hear or see you'. It wasn't soon before we had the frantic dancing (if you could call it that) while wearing a full back pack. It became a battle to remain standing upright as the bags would push you every which way. We also had to contend with the continous flow of people plowing through the crowd from all directions - going to the front, coming from the front, to the right, to the left, all while this 'momentous occasion' was happening on the stage.
Finally, as the show went on and the sun left our weary heads, things sort of balanced themselves out. I looked around and noticed there were definite pockets of people who, like us, were there to enjoy Blur and had to contend with the drunken and insane minions that surrounded us. It does make you ask - why do all these people pay £45 to see a show then talk to and show off for their friends, pass out or just be plain stupid? Who knows.
After the show, we stayed and queued for merchandise - well, my friends queued, I gave them money for a bag and waited in less crowded surroundings. They ran out of posters so we had to go to another stand and queue there. I have to say the merchandise was pretty reasonably priced (with the exception of the £5 disposable Blur lighter).
All in all I still enjoyed the show, mostly after things settled down, and am glad I went. Will I go to another gig in Hyde Park? It would have to be someone I can't see anytime else. But I did say the same thing after going to Live 8. I guess that says something about Blur.
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