Kensington Palace, London W8. Part 2. Queen’s State Apartments and King’s State Apartments.

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Kensington Palace has been a place of residence of the British Royal family since 1689. It was bought as a completed building by William and Mary when they ascended to the throne.  Those parts not being lived in are open to the public. Currently they contain four exhibitions, one ticket allows entry to all four. Entrance to the Palace gardens, including the attractive sunken gardens is free and these are certainly worth the time it takes to walk round them on days when the weather is clement. The first two exhibitions are about Queen Victoria and Princess Diana’s dresses. They are both interesting in different ways, I have a blog post about them here: Kensington Palace, London W8. Part 1. Victoria Revealed & Diana, her fashion story.

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The next two exhibitions are The Queens’ State Apartments, which has the rooms decorated as they were in the 1690s, during the reign of William and Mary, and The King’s State Apartments, which has the rooms restored in the way they were in the early 1700s, during the reign of Georges I and II.

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These are arranged in reverse chronological order, entry is through the sumptuous King’s Grand Staircase. Decorated in the time of George II, this is broad and spacious,  we are overlooked by painted figures as we ascend. The staircase is certainly grand, immediately we can tell that we are in an era when conspicuous wealth was expected of the monarchy. The mural was painted by William Kent in 1724 and contains depictions of many actual members of the royal court at the time. Kent even included himself in the painting, he is the man wearing a brown turban and holding an artist’s palette, and the lady looking over his shoulder was reportedly his mistress.

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The rooms in the King’s State Apartments have many wonderful Georgian features. The fireplaces and ceilings are spectacular. One ceiling is decorated with shields representing the members of the Order of the Garter, with its insignia making the centrepiece. The King’s Gallery has a mantelpiece with a map of the British Isles and Western Europe. This is linked to a weather vane on the roof, so that King George could see how the wind was affecting his fleet. It is still working today. The drawing room has some interesting examples of gaming tables from the era and the best perspective of the gardens, down to the lake.

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The Queen’s State Apartments are 17th Century and this exhibition is more intimate, showing their bedrooms, their dining room and gives a little more of an insight into how they went about their, still opulent, daily lives. The furniture and delft is remarkable and the tapestries and bed coverings are extravagant. It is interesting to see the shortness of the four poster bed, it was thought at that time to be beneficial to health to sleep in a sitting position.

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The exhibitions also contain lovely examples of the fashions at the time, there are some wonderful farthingale supported embroidered skirts, which look spectacular but must have been completely impractical to wear.

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Between all four of the shows here, it would be difficult to do it justice in less than a couple of hours, there is almost too much to see in one visit. Perhaps it would be worth viewing the Palace on one day and the Gardens, Park and Orangery, which are free to enter, on another. This way you could spread the visit over a couple of days and only have to pay the, not inconsiderable, entry fee once. Kensington Palace and Gardens is one of the most historic visitor attractions in London, the exhibitions are well stocked and informative, although it is not cheap to visit, it should be among the sights that you consider when in London. It is free to enter with an Art Pass, if you have one of these you should not miss it, Kensington Palace is a highlight of their offer.

 

The 10 Best Shows to book in London this December.

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  1. Romeo & Juliet. Royal Shakespeare Company at The Barbican. A contemporary version of the Shakespeare classic.
  2. Harry Potter and the Cursed Child. The Palace Theatre. A really good story and brilliant special effects.
  3. Les Miserables. Queen’s Theatre, Shaftsbury Avenue. This predates The London Lark, but it has been running so long because it is very good!don-quixote-lt
  4. Don Quixote. The Garrick Theatre. The Christmas show for people who don’t do panto!
  5. School of Rock. Gillian Lynne Theatre, Drury Lane. Very enjoyable musical, a bit corny but great fun.
  6. Summer and Smoke. Duke of York’s Theatre, St Martin’s Lane. Worth seeing for Patsy Ferran’s performance alone. Wonderful use of music at dramatic moments.
  7. Macbeth. Royal Shakespeare Company at The Barbican. Niamh Cusack and Christopher Ecclestone are fantastic in this.
  8. Follies. The National Theatre. Won the Olivier award for best musical revival last year, returning early next year and booking now. Sondheim in his prime, beautifully done.the-play-that-goes-wrong-5249
  9. The Play that goes Wrong. The Duchess Theatre, Covent Garden. This does exactly what it says on the tin. Very, very fanny! (Ha,Ha!)
  10. Everybody’s Talking About Jamie. The Apollo, Shaftsbury Avenue. Great Songs and a lovely uplifting story.

I have restricted the list to those shows that I have seen myself. There are a number of shows that I am sure will be wonderful but that I have not yet seen. Hamilton, which is on at the Victoria Palace appears to be universally loved. I am really looking forward to seeing Company at The Geilgud Theatre. The Inheritance at The Noel Coward Theatre looks like it will be fantastic too.

This list is obviously based on personal taste too. People who love Bat Out Of Hell, seem to really adore it and return regularly, although I have to say that I found the new songs less good than the originals and the story is poor. I do have to admit, though that some of the special effects are spectacular.

A Very, Very, Very Dark Matter might appeal, if you like your theatre to be a bit more off kilter. It is brim full of weird and unusual ideas, but it is not an easy watch and the realisation is not as polished as Martin McDonagh’s usual fare. You also need to be quick, as it is due to finish in early January.

So, if you are thinking of booking theatre tickets for London anytime this month, there is a show for you somewhere in this list. Enjoy!

 

Murder for Two, The Other Palace, London SW1

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The Studio at The Other Palace is an intimate theatre with a small stage and seating for about a hundred people. This is the perfect setting for this show, which is an affectionate homage to black and white murder mystery movies and to camp musical theatre. It is written by an American pair, Joe Kinosian and Kellen Blair, who clearly have a love for both of the genres that they are sending up.

This is a two handed play, with Ed MacArthur playing the investigating officer and Jeremy Legat playing everybody else, apart from the moment when an audience member is brought onstage to play the death throes of a poisoned murder victim. It takes a few minutes to adjust to the quick changes between all the different characters, but soon with only a single prop and a shift in demeanour, Jeremy Legat has us following his transitions through the roles at breakneck speed.

Murder for Two is a madcap musical. It has eleven songs. Usually one of the pair plays the piano while the other sings and dances but there are duets or songs with multiple parts. The songs that have the officer interviewing three members of a boys choir, and an arguing married couple are particularly inventive. The lyrics in the songs are clever. “A Friend Like You” which opens the second act is particularly good.

The familiar elements of the story arc are magnified and made into a virtue, so that we can derive pleasure from knowing what is about to happen and laugh when it does. There are very funny lines in the dialogue, but the main comedy comes from the character portrayal. The intimacy of the theatre adds to the warmth of the performances, Ed MacArthur and Jeremy Legat have charisma and there was a personal connection with the audience.

Murder For Two is pure light entertainment, every trope from film noir and musical theatre has been thrown in the mix. The only thing that could have made it camper would have been the addition of a butler in a feather boa. It is on at The Studio of The Other Palace until 18 January. It is a witty and likeable presentation, a warm hearted murder mystery musical.

Summer and Smoke, Duke of York’s Theatre, St Martin’s Lane, London WC2

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Summer and Smoke had a successful run at the Almeida theatre earlier in the year. The reviews at the time were ecstatic but tickets were impossible to get, so it was great news to hear that it had been given a West End transfer. When it was first produced, in 1948, it was the follow up to “A Streetcar Named Desire” but it did not match that play’s success. There have been revivals in the intervening years, but the only successful one has been the off Broadway version, with Geraldine Page as Alma, that was eventually made into the film with Laurence Harvey as John. Geraldine Page received an Oscar nomination for that part.

The set is a bare brick wall with seven pianos set in a semi circle facing it. These are played at the start, finish and at dramatic moments through the play. The rest of the stage is basically empty, save a few chairs brought on and removed as they are needed. The setting is the American deep south in the early 20th Century, classic Tennessee Williams territory. The story is too, a tale of unrequited love struggling against unbridled lust, set in a small American town in the sweltering heat of summer’s sultry climate.

Director, Rebecca Frecknall, has taken the decision to make this production revolve totally around Alma Winemiller. She is almost always on stage and on the rare occasions when she is not central, we are thinking about how this will affect her state of mind. This is a bold directing decision, but perfectly vindicated by Patsy Ferran’s performance as Alma. She is phenomenal, it is a career defining role and she drags us through every high and low. One of the toughest things for an actor to do is bring the audience with them when they have a life changing epiphany which totally reverses their world view, Patsy Ferran does this remarkably well, and if she does not win awards for her acting in this play, then I cannot wait to see the performance that beats it.

The rest of the cast are excellent too and provide brilliant support. There are a couple of moments where music is used to heighten the drama. Both of these are chillingly good. Anjana Vasan has a beautiful blues voice, when she sings in the casino. The slow motion sequence during the shooting, which I think used a Portishead track, has an ethereal, poetic quality that raises the production to a more abstract, surreal vision than we are used to seeing in a Tennessee Williams play, and this worked very well.

I enjoyed this production, it was brave enough to approach Tennessee Williams in a more lyrical manner than usual, the added musical dimension, although lightly used was very effective and it will endure in the memory for the amazing performance of Patsy Ferran in the leading role.

A Very Very Very Dark Matter, Bridge Theatre, London SE1

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Once upon a there was a very talented author. His name was Martin McDonagh. Everybody loved his work and he wrote some wonderfully funny plays and some wonderfully clever scripts for films. However, Mr McDonagh had a terrible secret!

Do you remember Shakespeare’s infinite monkeys at infinite typewriters? Well, Martin had stolen the most talented of Shakespeare’s monkeys. He kept it chained to the typewriter and in reality, it was this monkey, who ghost wrote all of his stuff. It was really the most clever monkey, that had the brightest and funniest ideas, and all that Martin McDonagh had to do was to make sure that he edited them carefully.

Well, one day Mr Shakespeare realised that one of his monkeys was missing. He wasn’t sure which one, because he did have an awful lot of them, but he counted them up and, sure enough, he had infinity minus one! Impossible? Impossible but true! He could not let this happen so he determined to spend eternity looking for his monkey, and sure enough, after 300 years, he found that the missing monkey was living in the office of Martin McDonagh’s house.

Shakespeare decided that he would expose Mr McDonagh’s secret by putting a spell on him, which would impair his editing abilities. This would allow, just one time, the monkey’s writing to be issued straight to the world exactly as it was written, with no oversight at all. Shakespeare turned out to be a very clever magician, the spell worked perfectly and Hey Presto! in 2018 “A Very, Very, Very, Dark Matter” was issued upon the world!

As it happens, this show is not all bad. Granted, you will leave the theatre thinking, “What have I just witnessed?”, but the show is full to the brim with ideas. Some of these are funny and clever, some of them less so. It is a touch of genius using the voice of Tom Waits as narrator, his resonant, off beat tone suits the storyline perfectly.

Phil Daniels is wonderful as a foul mouthed Charles Dickens, but it is shocking to hear his young children using the same words, an interesting juxtaposition, I suppose.  Jim Broadbent plays Hans Christian Anderson as an amiable buffoon with deep psychological scars and sadistic overtones. This would be an impossible task for a less talented actor.

Johnetta Eula’Mae Ackles makes her debut here in a starring role as Marjory. This is the most troubling part in the play and she carries it off very well, you would never know that it is her first major role. Martin McDonagh is always able to attract the highest quality actors and the depth of talent throughout the cast is the strength of the show.

This play has so much going on that it is impossible to make sense of it all. At points, it seems like a random jumble of weird toys thrown together by a wayward child. It has  many different ideas running around, some of which will make you uncomfortable, but one thing you can say about Martin McDonagh is that he never plays it safe. This is probably not going to be the most coherent show you will see this year, but I can guarantee that you will not be bored.

Macbeth, RSC Barbican Season, Barbican, London EC1

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2018 is turning out to be a Macbeth fest, with 4 major productions in London at various times through the year. Spring brought a Punk style, post apocalyptic version to the National Theatre. Autumn had The National Youth Theatre’s stylish and stylized, gender fluid adaptation. Shakespeare’s Globe has a Macbeth opening just now which will run to 2019, and this, the Royal Shakespeare Company’s interpretation, has been playing in Stratford through the year and will be at the Barbican until January.

Here we have a large cast, big names and high production values. The Barbican has a huge stage which is kept fairly minimal throughout, a digital clock, ticking down the seconds, dominates the set – reminding us of the passing of time. The witches are a stroke of genius, three schoolgirls dressed identically in red dresses and shoes with white wool tights, advancing together across the set and speaking in unison. Slightly reminiscent of the film “Don’t Look Now” but certainly the eeriest Macbeth witches I have ever seen.

This is a Macbeth that emphasises the psychological horror of the story. It is a brutal and murderous play, but priority is given to the effects of the violence rather than the violence itself. Polly Findlay, as director has made a clever and thoughtful direction decision in doing this, because we get to see more deeply into the characters of Macbeth and his wife, without losing any of the malignancy of the tale.

Niamh Cusack proves herself to be one of the finest actors, as Lady Macbeth. She is the instigator of the action, she drives and encourages her husband in his moments of doubt. We are always aware that her ambition is not hers alone, it is for them both together – and when she realises that his ambition has gone past hers, that she cannot stop him and that she has lost him, her descent into despair is palpable.

Christopher Ecclestone is Macbeth, he plays him as a modern day fighter, comfortable in battle fatigues, yet ambitious enough to don a dinner suit to schmooze at parties. His acting is a tour de force, we see him grow in ambition as the play moves on. The first undefended murder hits him hard, but each death gets easier and less affecting, until near the end they all just chalk marks on a blackboard, made by the watching porter.

This is a cold and dark Macbeth, perfect for a winter night, one that will stay with you as you sip your whiskey in the pub on the way home from the theatre. A great production of a chilling play. My favourite Macbeth.

 

 

 

Don Quixote, Royal Shakespeare Company, Garrick Theatre, London WC2

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The Royal Shakespeare Company have gone the whole hog in this version of Don Quixote.  They commissioned James Fenton and Grant Olding to adapt Miguel De Cervantes story for a modern audience and the pair have come up with a show that feels contemporary but true to time in which it was written. With audience participation encouraged and the cast entering and exiting through the stalls, it feels like a show that would have worked very well in the Globe Theatre even in the 17th Century.

David Threlfall is Don Quixote. He plays him as the straight man to Rufus Hounds’ Sancho Panza. This works very well as we care for Quixote, the fantasist who sees the world as he wishes it was. Panza is his faithful squire who sees the real world but makes sure that we are laughing at the situation not at the man. They make a fantastic double act, Rufus Hound improvises and involves the audience while Threlfall is too involved in his windmills to notice.

Audience participation is a large part of the show, it has a panto feel in places. Some of the comedy is slapstick and it is still funny – a sweary monk as he trips over an audience members foot, a bun fight between the cast and the audience. However, there is more to the show than this, it has so much going on that catching it all in one viewing is unlikely. The songs are good and give the piece an Andalusian atmosphere. There is puppetry that is both attractive and clever. The lion is spectacular and the hawk is funny. The horses are brilliant and their interaction threatens to steal the scene on a number of occasions.

The Don Quixote that we see these days consists of two books, the original and the follow up. The second was written roughly a decade after the success of the first, it tells of the exploits of Don Quixote after he becomes famous and this show retains that tradition. Often it leads to a change in tone between the two acts. Here is it handled cleverly by making the Duke and Duchess, nicely played by Richard Dempsey and Ruth Everett, into caricatures of pantomime villains, so their cruel tricks are jokes on them rather than our hero Quixote.

The ending of the story is done well, Rufus Hound has surprising depth, having laughed with him through the show, we feel his sadness at the end. Don Quixote has the last laugh though and we can be moved and still grin at his ascent to heaven.

The RSC have invented posh panto. A show that an Eton educated ex prime minister might take his son to see.  This show is a blast from beginning to end, great fun and a great night out. It deserves to be this year’s big Christmas hit.