My big fat brain

It has suddenly occurred to me, sitting here, on my bed, at home, that I have no idea how to write this blog post.

Usually I have something to start off with. A funny thing that happened, an embarrassing moment that I figure I might as well tell you, or an annoyance that can fill a few hundred words. And the fact is, that yes - I have all of those. But it feels inappropriate to go down that route. Because this show is the first one that I actually booked for me, and not for the marathon. I went to see it because I thought it was important for me to do so. Not to fill some self-imposed quota. And not to check off a venue. This was the show that I organised all my Vault Festival bookings around. Because I thought it was the one I had to go to, above all the others.

So, while I could spend a blog post detailing everything that irritates me about the Vaults, I’m not going to do that. Not with this one.

That’s a big statement from something who is just sat here floundering about with words.

So, let’s try and impose some order on this colloquy chaos shall we?

Why did I go? Why this show?

Okay, great start. Good, strong start.

I went to see Fatty Fat Fat because I used to be a Fatty Fat Fat.

And no this isn’t going to be a preachy blog post about how I lost the weight or any such bollocks, because fuck that shit. I lost weight through a combination of anxiety, stress, and insomnia. Which put me in the strange position of gaining thin privilege and yet not having done anything to deserve it. Result: I have a fuck tonne of unresolved issues on the matter.

I was fat. And now I’m not. And it’s weird. And it’s impossible to talk about properly.

I spent so much of my life as a fat person that I can’t ever imagine myself as anything else. No matter what I look like in the mirror, I will forever think fat. I have a fat mentality. A fat brain. Fat emotions. A fat soul, even.

And yes, I say fat because I was fat. Not chubby. Not fluffy. Not over-whatever-weight. I was fat. Properly fat. Very fat.

How fat was I? I believe it's considered harmful, by those people who understand these things, to post actual numbers, but I also know how annoying it is to not know - so let's say: a fashion designer would have called me plus size, to a teenage boy I’d have been an ugly fat cow, and a doctor would have termed me class three morbidly obese.

Whatever, I was fat.

And I never saw myself on stage.

No, wait. That’s not true.

I can remember seeing one significant fat character on stage. A girl. Who flirted with a boy. And he flirted back. And it was adorable. They were adorable. And I was so frickin’ happy.

That was, until the playwright turned her into the joke.

And it killed me.

No prizes for guessing it was a Martin McDonagh.

God, I hate him. And love him. And hate him more.

This blog post is not about Martin McDonagh.

Other than to explain why I wanted to see a play written by a fat woman, and one who claimed that fatness. A play where if there was a joke, that the fat people would be in on it.

That’s a lot of pressure to put on a one-woman show. Sorry Katie Greenall, I was asking a lot of you as I headed into the Studio at the Vaults and took my seat.

But that’s the thing with underrepresented classes. When a show does come around, it has to cater to every single need and taste, because there’s nothing else out there offering it as a choice on the menu.

So, I can forgive Katie for making the audience clap along to the Cha-Cha Slide. You already know that I can’t clap in time with music, so I sat that one out.

I can also kind of forgive her picking someone to come onstage through the medium of hiding a crisp packet under their seat, but only because I’ve told myself that was a set-up, and both the crisp packet and the audience member were planted - because the alternative is too abhorrent to contemplate.  

And I can forgive her making us play Never Have I Ever, a game I hate because I find the grammar confusing, because she gave us all crisps to eat along with her and I ended up eating a lot of crisps.

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What I can’t forgive is the raw words that she threw down once all the silly games had ended. With truth flying all over that small space there was nowhere to hide.

Story followed story, dripped out - sometimes as simple throw-away tales, others more poetic in structure - and each one burning out a hole in me as they found a similar tale in my own memories, burrowing in deep to pull them out.

It was brave. It was painful. And I really, really, needed it.

I needed to hear those stories. Perhaps as much as Katie seemed to need to tell them.

And perhaps as much as I need to tell a few of my own.

Like the time that the piano teacher in my childhood ballet lessons pulled me aside to ask if I ate crisps (what is it with crisps?).

Or the time when I was playing Charlie’s mother in my school’s version of Charlie and the Chocolate Factory my English teacher stopped the rehearsal to change Charlie’s line from “my mother looks so pale and thin” to “pale and tired” in front of my whole class.

Or the time I was given a digital scale as a birthday present.

Or the time my mother offered to pay for weight loss surgery.

Or the time I had to explain to my landlord exactly how I had managed to break my bed.

Or the time when my nephew asked me why I was so big. Well, not exactly that time. I would have forgotten it entirely if I hadn’t mentioned it to my sister-in-law - laughing as I shared the joke. “He means impressive,” she quickly explained. Too quickly. That was not what he had meant at all, but her desperation to cover his gaff hurt more than his words ever could.

Or the times, so many times, that my old flatmate, Leanne, the prettiest girl I had ever seen in my life, used me as a human shield when we went out dancing together, to protect her from the predatory eyes of boys who could see only her.

Wow. Too many times. Too much hurt.

But here’s the thing they don’t tell you about being fat: it gives you superpowers.

The fat brain is very perceptive. It can see the world differently to those who have never carried the weight.

Because it knows the world’s dark secret.

It knows that every time someone stops their car to let me cross the road, that five minutes later they'll be speeding up to make a fat person run.

It knows that when a waiter gives an admiring smile in response to my request for a massive slice of cake, that they’ll be fighting back a wave of disgust at the next fat person who does the same thing.

And I have to live with that.

And let me tell you, it makes it super hard to trust new people.

Every comment about a fat person, every joke I hear, will be analysed and turned over a thousand times.

Would they have liked me if they knew me when I was fat? Would they have even seen me?

Would you? No seriously. I’m asking. Would you be reading this blog if I was still fat? I know I certainly wouldn’t have written it.

I had the idea for this marathon five years ago. And this is the year I chose the go through with it. The year I wasn’t fat anymore.

It hadn’t occurred to me before this moment, this exact moment, that these two things might be connected.

But of course they are.

I just didn’t want to admit it to myself.

The world has grown the smaller I got.

And just thank god that all of my closest friends now knew me when I was fat. Knew what I looked like and still treated me as a human being, and a friend, and not something other.

Because fat people are other. They are set-apart. Their stories untold and unheard.

And that is why I went to see Fatty Fat Fat, and you should too.

Right, that’s enough of that. I’m going to quickly post this before I wimp out.

Oh My Gardée

"Wanna risk it?"

Not my usual sales-pitch when inviting a friend to come and see a show with me, but I was putting a lot of faith in the theatre gods to deliver on this one. At first glance, it was an enticing prospect: a crowd-pleasing ballet (Fille mal gardée), an easy to get to theatre (New Wimbledon), and the prospect of cake with a local (Ellen), but once the local quickly made it known that she would in no way consider attending, it soon became clear that we were into Tom Cruise levels of risky business here. 

The ballet may have been Fille, but it was the Gorsky not the Ashton version, and it was being performed by one of those Russian-touring companies that have such a grandiose name you figure they must be fairly fancy, until you realise that fancy-companies don't tend to spend quite so much time on the regional-theatre circuit. And then there was the matter of the theatre. Or rather, its seat map. 

Less than a week before the performance and the New Wimbledon's seating plan had more brightly-coloured dots than a Cath Kidson outlet sale. With each dot corresponding to an unsold seat, there was a good chance that this was a house that was going to need some serious box office-manoeuvres to make it look presentable come curtain-up. And I was willing to place a bet on it.

I told Helen my plan. We'd buy the cheapest possible seats, up in the upper circle. With so few seats sold up there, chances are they wouldn't want to have to staff it on the night, the upper circle would be closed, and we'd be upgraded.

"Yeah let's gamble!" came the immediate reply.

Right then.

The game was on.

I scoured the seating plan and picked our seats - right on the end of the row, restricted view. Terrible, awful seats. 

This better not go wrong, was all I could think as I keyed in my card details. Or Helen was going to kill me. 

Over matcha crepes at Cafe Mori, Ellen wished us luck for our "Grim Fille."

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"Message me in the interval," she ordered, with an evil glint in her eye, a little too pleased to not be going with us.

She must have already seen the posters.

"What even is that?" I asked Helen as we neared the theatre.

It was a ballerina. En pointe. Wearing a familiar looking white tutu.

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"Swan Lake," we both said at the same time.

"Are they even performing Swan Lake?"

I scanned the poster. No. They weren't.

What they were doing apparently, was sticking a pink background on a random ballet image and hoping that no one would notice. 

This was not a good sign. It wasn't even a good poster.

Oh well, there was no backing out now.

We forged on to the box office.

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"The upper circle is closed," said the woman behind the counter as she inspected them. "Let me get your new seat numbers."

I gave Helen my best smug face.

"Right," said the box office lady as she scrawled our new seats on the tickets. "You're in the dress circle."

We were in the fucking dress circle!

Pink Swan Lake posters or no, things were looking up.

Now, let's just freeze-frame for a moment on that smug face of mine. There's something I need to explain so that you'll understand the significance of everything that follows, something very important. And that is: I love Fille. 

I really love Fille.

I cannot emphasis that enough.

If you take anything away from this post it should be this: I love Fille.

I love the music. The costumes. The dancing. The characters. The pony.

And I love the love.

Not just the young love of Colas and Lise, but the love between Lise and her mum, the Widow Simone. And the love between Farmer Thomas and his son Alain (oh, when Thomas strokes Alain's hair, soothing the poor lad after he fails to get the girl... my heart), the burgeoning, and slightly knowing relationship between Simone and Thomas. And of course, the love of Alain for his umbrella.

No one leaves the stage without a happy ending. That is Ashton's gift to the audience. He ties a shiny pink bow on everyone's story and sends them out holding hands and singing into the night.

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When the opening notes of Gorsky's Fille sounded up from the pit, both Helen and I jolted in our seats. We turned to each other with panicked looks. These were not the gentle tones of the Ashton, conjuring up a slow sunrise over rolling hills, yawning milkmaids picking hay out of their hair while the stableboy tries to find his britches. 

"That sounds sinister," I hissed at Helen under my breath.

She nodded back.

The world this music was conjuring was one where the forces of Big Dairy meant that the milkmaids were all out of a job, while the stableboys had been requisitioned to help the army tend the fires after the latest Foot and Mouth outbreak.

If the music of the overture was wrong, the oeufs were even wronger. Lise fetching eggs from the hen house? No! She should be working the butterchurn. How else was the choreographer going to fit in a knob joke into the first act?

It was then that I finally began to understand why Ashton's Fille is considered so quintessentially English. The Russians weren't going to have any knob jokes in their version. Not a single one.

Worse still, the role of Widow Simone is danced by an actual woman and not a man in a padded dress.

I spent the entire ballet giggling and gasping in fascinated horror. Like an incomplete jigsaw puzzle of a famous painting, I could spot the recognisable bits, but it was jumbled up - all in the wrong order, to the wrong music, and being done by the wrong characters.

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"Alain catching the butterfly," we gasped as we jogged through the snow on our way to the station. "That was Lise pretending to catch the fly!"

"And Lise stubbing her toe when she kicks the door-"

"That's her mum hurting her foot on the butter churn!"

"And the hobby horse being thrown around was the flute!"

"Which makes so much more sense!"

"Yeah, where did the hobby horse even come from?"

"At least a flute at a harvest festival has a reason to be there."

"Yes!"

"And the circles in the rain, became the maypole!"

"Oh my god, yes!"

"Ashton was like - if they want circles, I'll show them circles!"

"And he gave us a real pony!"

"For which we are eternally grateful."

"Ashton was a genius.

"Ashton was a genius."

"What vision - to turn that mess into..."

"Our Fille."

"Exactly."

"He was a genius."

"He was a genius."

"He was a dramaturge."

"Yes!"

"He made an actual story. With characters. I've never realised how deep they all were until..."

"That."

"Yes."

"That whole thing with Colas getting the Village Notary drunk and stealing his clothes..."

"So wrong."

"Because it means that we know he's seeing Lise's fantasy about having kids with him."

"Yes! Ashton hides him from her and from us."

"So when he reveals himself-"

"-we feel her embarrassment too!"

"It's a double-hitter - the joke, then the blushes. Here it's all joke."

"And oh my god, the When We Are Married mime!"

"The mime!"

"It was all there-"

"-but all wrong!"

"The timing..."

"The storytelling..."

"All wrong."

"All wrong."

"Ashton was such a genius."

"Such a fucking genius."

At some point during all this we had managed to board a train.

"I wish I could have met him," I said, as I plonked myself down in a seat. 

Helen looked shocked. I never want to meet anyone.

"I just want to hear him talk about... his process. How he took that and turned it into..." I touched my lashes. "I feel a bit emotional about him."

"Oh my god, you really do," said Helen, laughing at my tearing eyes.

I really was. I sniffed and tried to hold it together.

"This changes everything. I will never be able to watch Ashton in the same way again."

"People bang on about MacMillan being the great storyteller, but Ashton..."

"Fuck. Yes. Fucking. Ashton!"

"When MacMillan did Romeo and Juliet... the story was there!"

"Yeah, Ashton had to strip it all back and start again!"

"He took tiny moments and created a complete world!"

"He totally changed the relationship between Lise and her mother. Like... making them spin wool together, it's funny, but also, that's how you know they love each other. Her mum tapping the beat on the tambourine-"

"-the one from the first act."

"Yes, exactly. Thank you. He took the pointless act one tambourine-"

"-that added nothing to the storyline."

"Less than nothing. He took it, and transformed it, and built it up. This is something they've done a thousand times before. Mum making music for her daughter to dance around to."

"So she's not just marrying off her daughter for money. She wants her to be happy. She wants a secure marriage. Not to the lad who has probably been chasing her chickens round the yard since he was a toddler."

"Exactly. So when she finally comes round and approves the match-"

"It actually means something."

"Ashton was such a fucking genius."

"He was fucking ballsy. He was like - those Italian fouettes? My Lise doesn't need them."

"Their dancing is all about the characters."

"It's not about the virtuosity."

"It's about the story."

"Yes."

"Wait, is this you?" I said, looking up to see what station we were in.

"Shit yes."

Helen jumped off the train. A second later, she stuck her head back through the door. "Aren't you supposed to be changing here too?"

The doors closed. The train moved on.

I was supposed to have been changing there.

Shit.

Still... fucking Ashton. 

I can't get over it.

Everyone's Talking About Everyone's Talking About Jamie

Is it morbid to treat a memorial as an experience? I think the fact that it is me asking this, the woman who wears all black, listens to The Cure, and grew up next door to a twelfth-century graveyard, is probably an answer in itself. If I am questioning whether something is morbid, it must be macabre af.

Last night the lights dimmed in the West End in memory of the theatre producer Duncan Weldon. I’d never seen that happen before, so I headed in early to try and catch it.

At seven o’clock, I positioned myself halfway down Shaftesbury Avenue and waited.

The lights glittered brightly.

A crowd had gathered on the pavement, phones poised and ready to capture the moment.

The Company sign hanging above the Gielgud was the first to go out. Shortly followed by the sequined Thriller Live at the Lyric.

We waited.

Lastly, after a painfully long moment, the Apollo switched off their lights.

The crowd clapped, but the sound was muffled by their gloves so they settled on a short cheer instead.

A moment later, the lights started coming back on, one by one, starting with the Apollo, and ending, an achingly long time later, with the Gielgud.

That done, is was time to head into my chosen theatre for the night.

The Apollo, or as I used to call it: The Worst Balcony in London.

I can't do that anymore.

Now it's: The-Theatre-That-Is-Lacking-In-The-Balcony-Department-Ever-Since-The-Ceiling-Caved-In-Mid-Performance-Following-A-Day-Of-Heavy-Rain-Fall-Way-Back-In-2013-Necessitating-The-Installation-Of-An-Admittedly-Beautiful-False-Ceiling-At-Balcony-Level-To-Cover-Up-The-Damage. Which is a less catchy name, for sure.

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The highest rank of circle on offer is now the grand one. Which, let me tell you, ain't all that grand. If you thought that theatres making the balcony-dwellers enter via a separate entrance was dodgy, here the residents of the grand circle also get the second class treatment. Once you’ve picked up your ticket from the box office, you are sent back outside, into the cold and the rain, to go in via the servants’ entrance, lest you offend the masters sitting in the stalls with your grubby, public-transported, presence. They even have the walls of the stairwell tiled, the better to hose-down our sticky finger marks after we’ve left.

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When I finally made it up, I made a cheering discovery. The Apollo may no longer hold the title of the Worst Balcony in London. But I am pleased to report, I think they may well be in good stead to claim The Worst Grand Circle in London prize.

Getting into row E required clambering up a massive step, which I’m sure fails on all sorts of access-friendliness scales. You’d think that once you’ve clawed your way into your seat, you would be rewarded by a fantastic view. Not so. Unless you have a particular fondness for inspecting the hairdos of strangers at close quarters.

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The Apollo will take your money just as easy as from the poshos in the stalls, but they don't believe in the poor people actually seeing the show.

Now, don’t get me wrong, I understand them entirely on this matter. Just as a popular artwork may be taken off display in a gallery to preserve it from the damage that comes along with being shuffled past by an endless stream of tourists, so must a show be kept hidden from the glare of too many retinas.

And naturally, it is only right that those who can’t afford an expensive ticket should not get an unrestricted view. The less they can see of the stage, the better, quite frankly! It must be safeguarded, far away from inferior eyeballs. Their funds will support the work going on below, naturally. One must support the arts. But this duty must be performed as a subsidy for the proper audiences. The ones that sit in the real seats. And pay real prices.

And wear appropriate clothes.

With the promise of heavy snow that evening, I had pulled out an original fifties circle skirt from the back of my wardrobe. Quilted with a layer of fleece hidden underneath, it is basically a duvet with a waistband attached. It is also frickin’ massive I had to keep on tucking it under my knees to prevent it from encroaching into my neighbours' laps. Totally the wrong thing to wear in cramped West End theatre seating.

I soon realised that the two people now living under my skirt were on wildly different rides that evening.

The girl on my right, a performing arts student, was on Splash Mountain. She bopped and danced around in her seat, cheered at every you-tell-the-bastards line and whispered excitedly, "this is so good!" to her friend. During the closing numbers she sniffed extravagantly, her sweet young face washed by tears by the end. Every emotion being pumped off that stage landed had straight in her heart.

The lady on my left however was stuck on the rotating Teacups and she wanted to go home. Every time a song ended and the cast insisted on doing the talking bits, she took out her phone to check the time, jostling and elbowing me as she reached into her bag and lit up the screen to reveal that, yes... only five minutes had passed since the last time she has performed this same manoeuvre. Half-way through act two, after a particularly clumsily choreographed attack on her bag and my ribs, she brought out, not her phone, but a tube of hand cream. Squeezing out a dollop, she then proceeded to work it into her skin during the heartfelt family moment taking place down on the stage. I don't think I've ever seen anyone so committed to skin hydration since The End of the World (“Moisturise me!”).

As for me, I just kept on thinking about a band of young men I’d passed on my way there. About how they had rushed into the road together, right into the traffic. A taxi screeched at them and one of the young men screeched back: “Run me over! Do it! I want to die!”

And I thought about the dimmed lights.

And the people taking photos.

And the girl on my right who was feeling all the emotions.

And the woman on my left who was feeling none of them.

And the stage that I couldn’t see.

And the painted forest scene hanging above us.

And the broken roof that lurked above this enchanted image.

And the snow falling on it.

And I wondered, if this was my last night on earth, would I be happy that I spent it here.

And.

And.

And.

And then I went home.

The incorporeal manner of cats

The Omnibus Theatre must have the most middle-class "how to get here" instructions in London. 

"You should see a Little Waitrose the opposite side of the road," it lightly trilled - or at least, that’s how it sounded in my head, in the tones of a boarding school housemistress whose fiancee had left her for a nightclub dancer.

I did see a Little Waitrose on the opposite side of the road.

We were off to a good start.

“Follow The Pavement,” it continued. I followed The Pavement. And all the rest of the instructions, until I found the theatre, on the corner of Clapham Common Northside and the very literary sounding Orlando Road, “opposite the Starbucks,” exactly as advised.

This air of quiet gentility continued through the door, as I saw signs for the Common Room which gave off less of an air of Man on the Clapham Omnibus, and more the Girls of Malory Towers. I half expected to see Darrell and Felicity toasting crumpets over the fire.

Oh, god. I could do with a crumpet right about now… Nope. I don’t. What I could do with is stopping thinking about food all the time.

Words. Writing. Theatre. That’s what I should be concentrating on.

Anyway, where was I? Yes. Clapham. The Omnibus. Fine.

I gave my name at the box office, and was handed a laminated token in exchange.

“Seating is unreserved. The house is open now. But there's still time to get a drink.”

A very relaxed statement given the usual rush to get seats when doors open.

This atmosphere extended into the Common Room, where people lazed about on squashy sofas and chatted quietly. No one looked like they were in any particular rush to head into the theatre.

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“I do like an arched door,” commented one woman, taking a photo of said arched door. She turned to her companion. “Shall we get a drink?”

Flummoxed by all this tranquility, I too hung back, taking my own pictures of the space. There’s plenty there to photograph. Bookcases, artworks on the wall, big sprawling wooden tables, a bar heavily laden with knick-knacks.

But you and I both know that such serenity couldn’t last. Not in my little anxious soul.

As the clock above the bar sloughed away the seconds, I began to grow restless and I found myself heading over to those arched doors. There was no holding back. I was going in.

After all the arched doors and squashy sofas and bookcases, I’d expected something a little bit different than the regimented rows of neat blue seats that I found inside the theatre.

With the light pouring in from the rear, highlighting the backs of everyone’s heads, it was almost like being inside a cinema. A feeling not helped by the actors already in situ on stage, sat in formation, staring out at us. Watching. Dressed in vintage blacks, they looked a still from a silent movie come to life.

I may have been in all-black too, but mine wasn’t vintage. My own efforts had a distinct lack of black satin flowers. There was no black lace capes draped over a matching black lace gown. No black beaded trim, black ribboned shoes or… Ooo… what was that? Shiny black jacquard? Yes, please! The costume-envy was going to be strong on this one. I could already tell.

Hoping the cast didn’t misconstrue the lust in my eyes, I quickly shuffled into an aisle seat about half-way back for some quality outfit-perving.

But someone was coming down the aisle, blocking my view. Someone familiar looking.

Michael Billington, theatre reviewing royalty. Nay, the king himself. Whatever grain of salt you use on his reviews, he deserves respect. The man’s been a drama critic for The Guardian since before I was born.

Golly.

It wasn’t press night was it?

I checked.

No. It was the last preview.

Cheeky.

Still, I was intrigued to see where the great master would sit. I creeped on him under the guise of reading the freesheet. 

The row behind me. On the aisle.

I congratulated myself on my seat choice. Mid-way back and on the aisle - the critics' choice.

But in all my pretend reading of the freesheet I had managed to not read something.

I went back to it, unsure if I had not read it because I was not actually reading, or not read it because it was not there.

I scanned the narrow pages.

Nope. It wasn’t there. No running time.

Had the woman on box office mentioned a running time? I couldn’t remember. I had been thinking about crumpets.

Was there even an interval?

Considering the play I was watching was primarily set in intervals, this could all become quite meta very fast.

I was there for The Orchestra, where the frenzied back-biting between the musicians takes place in the interludes in their playing.

Or rather, not playing. The music was piped in as the actors bowed, plucked, and pounded at their instruments - not making a sound for themselves.

When a cello was replaced by knitting needles, I craned forward, trying to see if that was being faked too.

“Japan stitch is vulgar,” sneered one of the characters, also leaning in to have a look.

Japan stitch?

I’d never heard of it, but then, I haven’t knitted much since I was a teenager.

I turned to the expert, my fiend Ellen. She knits for the stars of The Royal Ballet. She’d know.

“Ellen - is the Japan stitch vulgar?” I messaged her as the lights rose.

“I’ve never heard of it! It’s a knitting term?” she messaged back a minute later.

Hmm.

Helen was equally dubious. “I reckon Japan stitch is completely made up,” she interjected. “1. Japan doesn’t knit traditionally. 2. If it was a stitch it would be all metaphysical and ineffable and inscrutable and zen and that.”

Well, quite.

But all this lead to another question. Had the play finished? I mean, I knew it had, because we’d clapped and shit. But the other things that happen when plays come to a close had, well, not.

For example, leaving. People weren’t doing that.

The laid back atmosphere of the Common Room had invaded the theatre. No one wanted to budge.

Taking some initiative, I put on my coat and scarf, and as no one made an attempt to stop me, I left.

“Excuse me,” came a voice from behind me as I paused to look at one of the pieces of art on the wall.

Oh, shit. Maybe there really was more.

I turned round.

“Would you like me to explain the artwork?” said the small woman standing behind me.

I did. It looked strange and wonderful. A series of white cloth dolls, perfectly poised on rows of string - like a display of voodoo dolls, available to purchase for the curse-rich but time-poor witch.

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“They belong to an art project called Dreams and a Heart. I ask members of the community to fill the doll with dreams,” she said, touching a cloud of cotton wool on the table. “Then we insert a heart and meditate over it before adding it to the display.

“Would you like to make one?” she asked gently.

I did rather fancy sewing a doll, but I fancied going home even more. So I passed.

I'd hate the give the poor things my dreams anyway. It must be hard enough being strung up there without my unconscious thoughts fucking it up.

I made to hurry out, but as I was leaving I spotted something.

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What the…

There are cats? Two of them? At the Omnibus? And I missed them?

I am outraged, appalled, and frankly hurt that the cats hadn’t made themselves known to me.

This is worse than the ghost hunt of theatre 3/251. Ghosts at least have the decency to exist in an incorporeal manner that might easily escape detection. Cats, on the other hand, have too much fluff to occupy liminal spaces.

I dithered in the doorway. I could go back, I told myself. I might see a cat. I might even see two cats. I might… here my brain took on a zealous tone: I might partake in the making of art!

I cringed.

Ergh. Too much, brain. Way too much.

Stick to thinking up blog post titles from now on, will you?

The Ruffians on the Stairs

Proving once again that I really can complain about anything, I would like it on record that the Hope Theatre is too close to my work.

I stayed an extra hour in the office, walked as slowly as my legs would allow, took a half-mile detour, popped into Boots, and still managed to arrive with fifteen minutes to spare.

At least that gave me time to wrestle with my phone. In the rain. It's now got to the stage where I can't take a photo at all if it isn't plugged into some form of charger.

Let me tell you, if you haven't stood in the rain, balancing an umbrella on your shoulder, a phone in one hand and a charger in the other, than you have not truly experienced a theatre marathon.

Oh yeah, I'm sure it's possible to do this challenge with fully functional technology at your disposal, but is that really in the spirit of the enterprise? No, my friend. No, it is not.

I mean, sure... you would benefit. Better photos, perhaps even better blog posts. They'd certainly be produced by a less stressed blogger. But if my phone didn't crap out and lose my changes at least twice while writing each of my posts, what on earth would I blame my typos on? Riddle me that.

Perhaps we should consider my terrible photos as an external expression of my inner marathon trauma. An artistic series if you will. We can call it: The Downfall of a Theatre Blogger 251.

Fine, we’ll workshop the title later.

Anyway, yes - sorry, I'm getting ahead of myself there. Running down a path that no one is interested in. Certainly not you.

Let's go back to the image of me, standing in front of the Hope & Anchor Pub, taking photos, in the rain.

No, wait. Let's go even further back. All the way to my detour.

Because the truth is - I lied to you.

It wasn't a detour. Or at least not a planned one. I got lost. Well, not lost exactly. I knew where I was. But where I was wasn't at the Hope.

But Max, I hear you sigh. You literally just said this theatre was close to your work. How did you manage to get lost?

Well, I wasn't lost. As I've already told you. I was just... elsewhere.

I walk past the Hope & Anchor a lot. Exactly because of the whole working nearby thing. So when I headed out to go there, that's exactly what I did. I walked past.

I have a lot on my mind at the moment, and... can I blame the rain? Eh. I'm going to blame the rain. It was coming down pretty strong.

Anyway, I caught myself before I had gone too far. And walked myself back.

I must have been looking a bit bedraggled by that point as the man having a cheeky cigarette by the door almost stumbled in his efforts to open the door for me.

The pub was packed, and it took a fair bit of squeezing between tables to make my way to the box office, positioned at the end of the bar.

“Have you been to the Hope before?” asked the bloke manning the box office lapton after I’d been handed my ticket and bought myself a programme (£1).

Ah. He’d sussed me out. Yes, to my shame, this was the first time I had been to the Hope. Over two years of walking past, and I’d never made it through the doors before.

“Right,” he said. “Well, you'll be heading up the stairs. I'll ring the bell when it's time. Its 60 minutes, no interval. And if you leave you can't come back in.”

Nicely done.

Though I think some of the regulars could have stood to have heard that speech. As a few minutes later, I spotted a group heading upstairs. Not wanting to be left behind, I dropped into line and followed them.

The line stalled at the door.

“I don’t think you’re supposed to be up here yet,” came an unseen voice from the top of the stairs.

A queue started forming behind me.

There was no going back now.

We were doing this thing.

Soon the line was winding its way right back down to the pub. I may be a newbie, but this felt very familiar. This was Royal Court Upstairs-style queuing going on right there.

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“I have cheese in my pocket,” said the man behind me.

Not to me, you understand. I was just eavesdropping.

“What a strange admission,” laughed his companion.

A very strange admission indeed, but I didn’t get to hear the explanation for the pocketed cheese as the bell started clanging below.

“The doors are now opening for the Ruffian on the Stair,” called out the box office bloke. I fancied he gave the queue a derisive look but that was probably my imagination. Still, I wouldn’t blame him. There was certainly a collective air of delinquency going on amongst us.

The door finally opened, and we made it upstairs. And after having my ticket ripped (what a joy to actually have a proper ticket getting its stub ripped off. It’s one of those theatrical rituals that is so joyful in its simplicity. A proof of use. Like a stamp getting postmarked) we headed inside.

The stage was so small, the front row looked as if they were part of the set. Like dining table chairs pushed back against the wall because the room is needed for something more important than the business of eating.

The bravery that had gradually been building up this month suddenly evaporated. I headed to the second row, in the darkest corner I could find.

And from my tucked away spot, I inspected my ticket.

I hadn’t given it proper attention before. But the combination of ripping and unreserved seating intrigued me.

It had the logo on it. And the twitter handle. The address and the url.

So far, so standard.

But then on the back:

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“DID YOU KNOW?” it shouted out in all caps (and bold too!). “By purchasing this ticket,” it continued, in a more reasonable font, “you are personally helping to ensure that all actors you see tonight are paid a legal wage. Aren’t you great?”

I preened. I am pretty great.

That was quite the distracting thought though.

Not my greatness. That’s something I have to live with every day. I mean the legal wage bit.

The Hope Theatre is tiny. TINY. And there were three people on stage.

I tried to do the maths, but failed. I… got distracted by the play.

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I’d never seen a Joe Orton work before, and I had really wanted to. I admit it, I was drawn in by story of his demise, a modern-day Christopher Marlowe. But man, that guy could write.

The lady sitting across from me certainly agreed. Her facial expressions as each shocking new line was dropped were magnificent. It was like sitting opposite a live reaction gif. Mouth dropped. Eyebrows raised. She jumped and gasped and jerked back in her seat in perfect time with the action.

I don’t think I have ever loved anyone more than I loved that women during this hour-long play.

May the theatre gods bless and protect you, lady. You are perfect.

Feeling a little woozy from the play and my short-lived love-affair, I had to hold onto the balustrade for balance as I made my way back down the stairs.

The pub was nearly empty now.

I buttoned up my coat, slung on my shawl, and stepped outside.

The rain had stopped by then, and it was snowing.

Garfield isn't the only one

Finding shows to see on Mondays is becoming increasingly difficult.

So many theatres take the day off.

I get it. Mondays are hard enough already what with the waking up and going to work. There’s no need to extend it any longer than it needs to be. I mean, really, what kind of obsessive theatre-goer wants to see a show on a Monday?

Yeah, okay - put your hand down. Didn’t anyone tell you that it was rude to point? It was a rhetorical question. I didn’t really want an answer.

Yes, this obsessive theatre-goer wants to see shows on Mondays. If I’m taking a day off the marathon, it ain’t going to be a work day. What would be the point of that?

Now, if I were a sensible person, I would have made sure to see productions that do actually have Monday shows on Mondays, and Mondays only. But that would have required a level of research that did not quite fit into the slapdash week of planning I managed to accomplish before starting this marathon.

Thank the theatre gods for the Gate Theatre, coming to my rescue when I had a Monday-slot that needed filling up.

They don’t need to give their actors the day off at the moment, because they only work the one show. Their current production, Dear Elizabeth, gets a new pair in for every performance - unrehearsed and unprepared. So Mondays are a-go.

I’d never been to the Gate before, so I made sure I read their website’s Visit section before setting out.

They encourages walking, which I am all about, but as they are a chunk over four miles from my office I don't think I could have made it on time. I felt a bit bad about that, not very in keeping with their Green Gate policy, but what can you do? Anyway, the walking guide they link to no longer exists. No one's checked that link for a while, so they can't be all that committed to the whole thing.

Also, small thing - but they don’t put the address on the same page as the travel instructions? I mean… you do you Gate Theatre, but that doesn’t feel logical to me.

Anyway, I compromised by walking into the West End and then taking the tube from there, and found the venue just fine. The huge yellow Tetris-block of a sign next to the door helped. As did the pink-painted stairs leading up above the Prince Albert pub.

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The dour black website utterly failed to prepare me for the carnival of colour that is the Gate Theatre in person.

Nor the friendliness of the staff.

“Ooo!” cooed the woman on box office when I gave her my name. “That's a nice name.”

I did my usual spiel. It's Scottish. It means small.

She seemed disappointed. I get it. The backstory doesn’t quite live up to the promise of the name.

She rallied. “But in England, it means smiles,” she said, handing me the laminated admission pace.

That's true. It does indeed mean smiles in England. I should really stop explaining my name. It’s such a downer for people in the wake of so much joy.

I changed the subject.

“Can I take one of these?” I asked, pointing to the freesheets fanned out on the counter.

“Oh yes! Help yourself!”

I did.

Situated as it is above a pub, there isn't much in the way of space at the Gate. And what there was was filling up fast.

Turns out there are a lot of people willing to watch a play on a Monday night given half a chance. 

I found a spot by the wall and read my freesheet. No bios. With a new cast every night that might be a bit too much to ask. But that back was interesting.  

"Without public support tickets would cost £51.11." 

They must be quite pleased with this statistic, because it's also printed in the admission pass. 

I felt slightly less outraged that my ticket had cost me £24 (twenty-four pounds! Okay, I'm still outraged by this. Twenty frickin' four pounds for a theatre ticket. I'm not saying that theatres don't deserve the coin, but spending that much on an evening makes me want to boak, it really does).

Thankfully I didn't have much longer to dwell on such matters as the house was opening. 

“Your actors tonight will be Temi Wilkey and Seiriol Davies,” came the announcement.

"As this is the first time they have performed it, we don't know how long it'll be. The performance will be around one hour forty-five minutes, but as they've never done it before it might be a bit longer." He paused for a moment, then said with masterful comic timing: "Not too much longer, we hope." There was a titter from the foyer and we headed towards the doors, ready to score those good seats.

Benches lined both sides of the stage. With a short second and third row on one end. 

After near fainting, immersive theatre in a shed and seeing thirty shows, in thirty venues, in less than a month, I felt unstoppable.

I sat in the front row.

Oof. 

The bench seats were covered in golden velvet.

Let me tell you something, wearing a velvet skirt and sitting on a velvet bench is an experience. And not one that I think was ever meant to be felt by mortal beings.

It was like stroking a cat's belly. Dangerous but irresistible. 

Okay, you can wipe that look off your face right now. I know what you’re thinking - how much velvet does this woman own? Every time she comments on her outfit it's velvet this, and velvet that. Well, my love, I'll tell you. The answer is: a lot. An absolute fuck-tonne, in fact. And thank you for asking. Dresses of course, and last night's skirt, natch. But also jackets and scrunchies and shoes. A shawl. Underwear even. From September until March I am enveloped in velvet. What can I say? It’s warm and fuzzy and I love it.

And there, sitting on velvet benches, and with the golden velvet curtains surrounding us on all sides, I felt quite at home.

I could have sat their all night, quietly luxuriating, but I was awfully distracted by the floor.

The floor? Yes. The floor. Let me tell you about the floor. The floor was sensational. An oil slick of pastels. As if a unicorn had barfed on it. Wait, that's a lazy metaphor. Unicorns are forever barfing and pooping whenever there's a rainbow nearby. Unicorn Land must be a complete bio-hazard by now.

How about: the sheen on a bubble, or mermaid's looking glass, or perhaps a pearl dissolved in vinegar.

You get the idea. It was pink and blue and shiny. 

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I want that floor in my house. I want it rolled out before me wherever I go.

I was not the only one to appreciate it.

We'd been instructed to tuck our bags and coats safely under our benches. But one man went a step further and stowed his boots under the bench as well. He leaned back, stretched out his legs and planted his besocked feet on the mermaid's mirror.

The Gate really does foster a community atmosphere…

In fact, everyone there seemed to be part of the local society.

“You’ll never guess who I just saw,” a young man said to his companion, pouring out the names in a flood of excitement. “I promised we’d save spaces for them.”

Across the way, a woman squealed and ran across the room to greet someone she recognised.

Mwah. Mwah. Kissssessss…

I was beginning to regret my seat choice.

Actors I can deal with. The audience is another matter altogether.

Thankfully by this point the show was beginning and everyone was forced to return to their chosen seats.

Curtains lifted.

Seiriol and Temi, our actors, stepped out.

They hugged and swapped handwritten letters. They apologised for everything they were about to get wrong. They tore into their fellow actor’s letter and read it aloud, full of proclamations on how excited they were to be doing this thing.

They opened the first script packets.

And we were off.

Balloons, toucans, toys, confetti, wine, words, and cornflakes were spilled around in a tribute to messy theatre.

It was brilliant fun.

Bows. Applause.

They had made it. And so had we.

We packed ourselves up crunched out over the cornflakes

“You taking photos of the mess?” asked a man as we were leaving. I couldn't deny it. I was doing just that. “They're going to have to clean that up. And separate it,” he added.

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Yes, I suppose they are going to have to.

The actors may only have to do the one shift, but the backstage crew has to sort this out every single night.

Even on Mondays.

Pottering about

People who have anxiety shouldn’t have to go to immersive theatre.

People who have anxiety shouldn’t do theatre marathons.

When the Vault Festival released their line-up earlier in the year I was a just a tad concerned about the number of spaces they were taking over, but also a little thrilled. Nine venues that were relevant to the rules of this challenge. Nine venues that need to be burst through within a single festival. Nine venues that include: Unit 9.

I didn’t understand the significance of this space at first.

It was just one in a long list of venues that I needed to get to.

That was until the very moment when I sorted my massive spreadsheet of Vault shows by venue and spotted something: every single show taking place in Unit 9 was immersive.

Every. Single. One.

Because, and forgive me if you already know this, Unit 9 is an immersive theatre space. That’s what it’s there for. That’s its thing.

If I was going to complete this marathon, I was going to need to get my immersion on.

After releasing a plaintive cry out over Twitter, the no-nonsense @Weez sorted through the options and leant me her analysis of the situation. Something for which I will forever be grateful for.

The Archive of Educated Hearts it was.

Ticket booked!

After the gentle charm of the Puppet Theatre Barge earlier than afternoon, I wasn’t quite sure I was ready to be thrown into the anxiety-inducing world of immersive theatre.

When I got to Waterloo, I headed straight for the nearest Cafe Nero for a restorative hot chocolate and toasted tea cake.

Yes, it may be rather pre-emptive to be having my restorative sugar-dose before the show, but who knew if I would actually survive to eat carbs again!

And yes, I’d already had a hot chocolate that afternoon on the barge, but I’d got a taste for it by then. I wanted that warming feeling in my belly once more.

Teacake consumed, I had to admit that I had done as my preparation as could possibly be expected, and I made my way over to Leake Street.

I’d been there before. Back when the Vaults first opened and everyone was buzzing with excitement about this brand new venue. But since then, my internal map has grown a little faded and I had to look up the “Finding Us” information on the e-ticket. A little vague on first read, but I put my faith in the instructions and soon I was making my way down the “first set of stairs you come to” and found myself in the heavily graffitied tunnel that is home to the Vaults.

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Bag checked, I headed inside.

Oh good. There was a map up on the wall.

I scanned it: Cavern, Pit, Forge. All places that I’ll be visiting over the next few weeks.

But no Unit 9.

I looked over at the chalk boards displaying all the start times of the shows that day.

No The Archive of Educated Hearts.

Had I imagined the entire thing?

Have my dreams of going to the theatre now extended into my waking hours?

Was Unit 9 nothing more than a nightmare dreamt up by my anxiety? I sure hoped so.

But I thought I better double check all the same.

“Hi. Where’s Unit 9?” I asked at box office. “I don’t see it on the map.”

“Are you seeing one of the immersive pieces?”

I cringed. “Yes.”

“Is it Séance?”

“No. It’s the one with the really long name.” We stared at each other. “Hang on.” I got my phone out. “Archive of Educated Hearts?” I said, as a question.

“Right,” she nodded. “If you head outside you’ll see a sign for it. Just wait there and you’ll be led over to the venue.”

I did as she said, heading back out.

I saw a sign of the studio. But nothing for Unit 9.

“Sorry, where’s the queue for Unit 9?” I asked a pink-jacketed usher.

“Are you here for one of the immersive experiences?” she asked.

I cringed again. I wish that would stop using that word.

I nodded. “Archive of the Educated Hearts,” I said.

She pointed my across the road.

“Just over there. If you talk to the lady in the pink jacket, she’ll tell you where to go.”

Passed over to my second pink-jacket of the evening, I was checked in via the medium of a tablet and then the both of us, pink-jacket and me, waited for the rest of the gang to arrive.

I was relieved to find out I wasn’t the only one confused by this system.

“Is this for Archive?”

“Are you queuing for Unit 9?”

“Do I need to give you my name now?”

But eventually we all got our names ticked off on the tablet and a third pink-jacket arrived.

“Everyone for The Archive of Educated Hearts and Escape the Jacket…” He paused dramatically. “Follow me!”

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We followed him, down the tunnel, past the graffiti artists and the photographers recording their work. Past cafes tucked into arches and anti-Brexit artwork. Past a rapper who was apparently filming a music video (“he has his lyrics on the floor,” giggled the girls in front of me who seemed to recognise him).

Then reaching for a part of the wall that looked like every other part of the wall, our personal pink-jacket opened a previously invisible door and ushered us in.

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The stark pale stones and strung up lights were a bit of a shock after the riotous colour of the tunnel. It was like being ushered into a cave.

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“If you’re here for Escape the Jacket, stand over by that wall,” called the man behind the desk. “Everyone for Archive - over there.” He pointed slightly further into the space.

Our group split into two.

Standing a few feet off, a woman in full Marlene Dietrich mode (including the top hat), escaped from another show (and possibly a jacket), smiled at us as we were led past, deep into the cavern.

We rounded a corner, and there, was our destination.

A small garden-shed.

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“You can leave your bags over there, if you like. No one else will be let in. They’re quite safe,” said a young woman wearing comfy looking dungarees and a warm scarf. “Come in, take a seat. If we’re sold out one of you will need to take the very special seat on the floor. Don’t worry, there’s a cushion.”

We ducked our heads and went in, inching our way along the walls to reach our seats.

It was a tight squeeze, but very comfortable. Postcards flittered above our heads, clipped onto twine. A desk was cramped with oddments from old watches to books to dried flowers.

And the smell… something floral and herby. Like the insides of a Miller Harris boutique. I breathed in deep.

“I’m closing the door now,” announced our dungareed host. “If you want to leave, just let me know. I’m only locking it to stop it from opening itself.”

She introduced herself (“I’m Casey”) switched on a CD player that looked like it was lifted straight from my dorm bedroom at school, laughed at the music (“spa music”), removed her coat and began to give us the housekeeping speech. All very casual. All very chill. I began to relax.

So did everyone else.

One woman even asked if the music could be turned down. “You don’t worry about that,” assured Casey. She was right, we didn’t.

We didn’t need to worry about anything.

Casey led us through the show, sometimes playing clips of people talking, sometimes showing us photos, sometimes talking herself. Everything with a warm earnestness that was a soothing balm on my anxious soul.

A men closed his eyes to listen. A woman rested her head on her partner’s shoulder and squeezed his hand tight. The lady who had asked for the music to be turned down dabbed at her eyes.

After half an hour, we were let out.

“I’m just going to give you a card from CoppaFeel,” said Casey, removing a pile of small cards with instructions on how to self-exam your breasts from the desk. “Keep one or give it to a loved one.”

I took a card, and a minute later I was disgorged back into the tunnel - with its graffiti artists, and photographers, and people queuing for shows. And I felt utterly, and totally, calm.

Messing around on boats

Brr, it’s cold.

No like, properly freezing.

And entirely the wrong day to be heading down to the canal and hang out on a barge.

“It’s been snowing,” said Helen, bundled up in padded coat as we met by the waterside. Her huge fur-trimmed hood nodded in the direction of the ice that clung to the base of the wall next to us.

So, yes, it was really effin’ cold.

We looked from the ice, to the brightly-coloured barge, and back again.

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“Do they have heating?” asked Helen.

“I think so,” I said doubtfully. “But the website said to wear layers.”

I wasn’t wearing layers.

After my attack of the vapours on Friday’s trip to the Wanamaker, I was a little nervous about putting my heattech back on. It was just me, my dress, and my coat, against the elements.

And we were shivering.

“Let’s go inside.”

We made out way up the short gangway and onto the deck.

It was beautiful there. Moored right in the middle of Little Venice, the water was surrounded by massive stucco-fronted buildings on all sides.

The water churned as boats thrummed their way past.

The air had that sharp whiteness that comes when you’re near a really cold expanse of water.

Gorgeous.

But my knees were starting to freeze solid.

As I opened the door, a waft of warm air spilled out. Good. They had heating.

And tea.

I could see people swarming around with cups at the bottom of the steep staircase that led down into the body of the Puppet Theatre Barge.

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Tea has always struck me as a strange substance to consume at the theatre. I was really weirded out by the ubiquitous presence of it at the Orange Tree, but here, on this boat, surrounded by so much frigid water, it seemed right. Proper even. Necessary.

“Do you want a cup of tea?” offered Helen as we queued for tickets at the counter that also served as the bar. I wasn't the only one feeling the need for hot drinks.

I thought about it. I did want tea. But there was something else on the menu that sounded even more appealing. “You know what, I’d really like a hot chocolate.”

“Can we take our drinks in?” Helen asked one of the black-clad ushers.

We could.

Hot chocolates, ticket (just the one needed), and programme (£1) acquired, we were led by another black-clad usher into the theatre itself.

Rows and rows of steeply raked benches, facing the tiniest stage I had ever seen.

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While seats aren’t assigned, rows are, and we were directed to the correct one and instructed to shift ourselves to the end, where we wriggled ourselves out of our coats and then set ourselves upon our hot chocolates, letting the warmth seep into our bones and drive it the brittle cold.

What remained, was soon melted by the play.

A collective sigh of appreciation rose up from the barged audience as the first puppet appeared, and never really went away. It hovered amongst us, reveling in the charm that poured out from that tiny stage, inhabited by the clinking wooden puppets.

The Butterfly’s Spell, by Federico Garcia Lorca. Yes, the guy who wrote Yerma also wrote a play about a beetle falling in love with an injured butterfly.

“He sure had range,” I observed during the interval.

But perhaps it isn’t so surprising. Who else could have prevented such a sweet tale from devolving into schmaltz?

The woman working the box office came over. “Can I take your cups from you?” she asked. “We’ve run out at the front.”

The rush for more tea and biscuits must have been considerable.

No wonder. By that point the effects of my hot chocolate were wearing off and I dug out my scarf to put around my shoulders.

As the audience filled back in for the second act, I noticed something.

I looked around just to check.

Yup.

We were all grown-ups.

Not a single child to be seen.

I would have thought a 3pm performance on a Sunday would have been the ideal time to take a child to see a puppet-show on a barge. But perhaps only the childless can be convinced to throw off their duvet on such a wintery day in order to spend their afternoon on a boat.

Their loss.

At the end, the puppeteers came out for their bows.

I recognised them.

They were the same black-clad figures who had led us all to our seats.

“I fucking loved that,” I said, as our applause died down. “So fucking charming.”

Helen agreed.

We started plotting the casting for a ballet version. 

The entire experience was magical. I’m definitely going back. I need more magic in my life.

I just need to remember my heattech.

But there was no time to dwell on the experience. I had somewhere else to be. It was a two-show day, and I was heading off to Waterloo for my first trip to the Vault Festival… and the dreaded Unit 9.

Very non-'U'

You’d think after my near-fainting incident at the Wanamaker on Friday I’d be taking it easy this weekend. A couple of days off to laze around in bed and eat toast.

Unfortunately, the theatre gods had other ideas. A marathon won’t wait for no woman. So, I was off again, to Ealing this time, for theatre number 28 on the list - a spot of Polly Stenham at The Questors Theatre.

Don’t worry, I still got my toast.

I was actually really looking forward to this one.

I do like Polly Stenham’s work. Even if her plays are all about posh dysfunctional people. Perhaps that's the appeal. As a (somewhat) posh and (somewhat) dysfunctional person myself, I mean.

I’d never been to Ealing before. Stepping out of the South Ealing tube station was a bit of a shock to the system.

It was completely deserted.

Empty pavements. Closed shops. Every house a collage of darkened windows.

Spooky.

Where had everyone gone?

It was as if the entire neighbourhood had been abandoned.

Do the people of Ealing go to bed really early on Saturday nights? Or were they already out partying?

It was hard to tell.

If it weren’t for the constant flow of cars coursing down the road, I might have thought I was in some 28 Days Later kind of situation.

Feeling a little creeped out, I headed straight for the theatre.

This road looked very residential. Don’t get me wrong, it was nice residential, with fuck off massive houses. The type you can imagine being the home to a sweet family of children who rule over a magical kingdom at the back of a wardrobe during the school holidays. But it was residential none-the-less.

Was there really a theatre down there? And if so, what did the neighbours think?

I had to ask myself: would I want to live next door to a theatre? Perhaps, I decided. It would depend on the theatre.

As I was making a mental list of the theatres that I wouldn't mind living next to (yes to the Almeida and the Bush, no to the Young Vic and the Polka) I passed a primary school.

Ah. Okay. 

If living next to a theatre means also living next to a school… even a fancy preparatory school, I’d rather nope out of the whole thing. Sorry Ealing. I won’t be moving quite yet.

Amongst all these gargantuan houses, Questors itself was a surprise. It was not the converted mansion that my brain had been expecting, but a modern, glass-fronted building, set back from the road behind a packed car park.

As I picked my way between the vehicles and made my way to the front door, I realised why the pavement here are so devoid of life: everyone drives.

As to prove my point, two cars pulled in and manoeuvred themselves into the last free spaces.

I definitely wouldn’t fit in around here.

Still, you have to admire the people of Ealing for their dedication to amateur theatre. This is quite the building.

There’s a huge blazing sign over the doorways (there are two - with separate entrances for the studio and the main house). I mean, yes - the ‘u’ has burnt out. But I’m sure that will be fixed after the next fundraising drive. It’s still bloody impressive.

As are the staff... or should I say volunteers?

"Is this for the studio?" asked the lady on box office, already reaching for the box of studio tickets. "Or the playhouse?"

"The studio. Good guess," I said, wondering what gave me away. Do I look like a Polly Stenham fan? And if so, what does a Polly Stenham fan look like? It’s my nose, isn’t it? Always gives me away.

Ticket collected (oh, yes - they have real tickets here), I headed back outside and across the way to the Studio door.

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Within minutes a queue had formed.

“A queue for the studio? Bloody hell,” laughed a bloke as he came in.

Looks like there are a lot of Polly Stenham acolytes in Ealing. I suspiciously looked up and down the queue, checking to see if we shared any characteristics.

There was one thing I couldn’t help noticing.

We were all very white.

And very theatre.

"I can't believe this is our last proper rehearsal.”

“I’ve just come off 11 weeks of panto.”

“I’m on lighting and sound tonight.”

“What did you think of the script?”

I debated whether I should announce my own theatre creds ("who are we going to commission to write the programme notes?") to indicate that I too was just like them, but somehow I didn't feel necessary. I was there. I was already one of them.

"The play as one hour, forty minutes. No interval," came a booming voice from the front of the queue. "Please use the facilities now, as there's no readmittance." And then, just in case we didn't understand the full implications of this: "It's in the round so you'll be walking across the stage."

The theatrical equivalent of the walk of shame, that is.

"And please read the sign here." He paused. "It says there's smoking and a lot of bad language."

This declaration didn't get the reaction it deserves. 

He tried a different tact.

"There's smoking and a lot of swearing," he said, moving down the line and tearing tickets.

"A lot of fucking swearing," piped up the man behind me.

Too much. The ticket tearer attempted to reign in this unruly crowd.

"A lot of interesting language," he amended as he tore the final tickets.

Finally, we were let in. 

Even after seeing the fancy frontage, I was taken aback by the scale of the studio. 

A good size square floor was surrounded on four sizes by neat rows of seats. 

Where did I want to sit? 

At the back. Obvs. 

But somehow I found myself heading to a front row seat. 

After my incident at the Wanamaker, I was feeling invulnerable. 

Actors don't scare me no more. So, they want to catch my eye... well, let them. They can even talk to me if they want. To hell with it all. 

Though, I still put myself in the corner. Just in case. I was feeling brave. Not stupid.

Plus, there was a nice little gap between the chairs for me to dump my coat and whatnot. 

Congratulating myself on my seating choice, I settled in for a good read of my programme. 

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Oh, yes. They have them too. 

I suspect not professionally printed. No bleed on the images. But hey, they were only a pound ("although a donation is always welcome" - they've got a 'u' to repair after all).

The power of the Questors soon became evident as the play started. Piles of black-clad stage hands flooded in, furnishing the space under cover of darkness. 

100 minutes later we were done.

As I stepped back out, buttoning my coat in preparation for the fifteen minute walk to the station, clunks sounded all around me. Car doors opened and slammed shuts. Engines started. 

And very soon I had Ealing all to myself once more.

Swoon-worthy theatre

This is not the blog post that I had intended to write.

I had other ideas entirely.

I was going to the next stop on my marathon with a friend. One who is a regular theatre-goer. We had dinner, over at Porky’s, quite possibly the least vegetarian place in existence, and even better, within full-bellied staggering distance of the Globe complex where we would be spending the remainder of the evening.

And while I was busy dribbling mayo and crumbs down the front of my favourite dress, Helen was busy dropping interesting thoughts about the art-form we both love so much. She's very clever, you see.

As an example, when mentioning the gender-swapped Dr Faustus currently playing at the Globe’s Sam Wanamaker Playhouse, my reaction on hearing about the girl-kissing was to share how much hotter I found that than hetero-normative theatrical love scenes. Her's was to muse on how they made one look again at a well-trodden tale.

"Ah, yes. That too," I said, nodding along.

See? She’s very clever. An intellectual even.

So, I was sure that she would have lots of interesting things to say that I could... borrow... for my blog post.

That was the plan at least. 

Events, however, rather got in the way.

After finishing up our meal (and me having a quick brush down of my dress - everything sticks to velvet), we headed across the road to the theatre. We were watching the Dark Night of the Soul, a collection of new plays written in response to the same Dr Faustus that had provoked my previous, embarrassing, admission.

"Free programme," offered an usher, holding up a couple of said free programmes to show us.

Absolutely, yes please.

I can never resist a free programme. I might have even said that: “I can never resist a free programme.”

Especially not one as nice as this. No A4 freesheets run off on the photocopier here. There are pages and pages, with proper artwork and beautiful typesetting and… oh, I’m quite overcome just flicking through it again as I write this.

Such rapture extended all the way up the stairs and into the theatre itself.

I’ve written before about the cognitive dissonance of stepping out of 2019 and into a space transported over from a previous age. And the Sam Wanamaker Playhouse is no less startling even if you expect it.

The white hallway and the bright electric lights are left behind you as you are enveloped by shadows and candlelight.

We took our spaces. Right at the top, balancing on the narrowest of platforms, high above the pit. Spots chosen in a concession to my floundering bank balance. Once bags and coats had been dealt with, there wasn’t much room for feet to be placed.

“It’s a beautiful space, but the sightlines are terrible,” Helen had commented before we went in.

She wasn’t wrong.

It is a beautiful space.

And the sightlines are terrible.

Tucked up against the wall you don’t get much of a view of the stage. But there are compensations.

The ceiling, painted with the images of the skies that they hid, were mere inches above our heads, allowing close inspection of the golden constellations scattered across the angel-strewn heavens.

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The curtains leading out into the modern world were drawn shut, and we were left alone in the candlelight, cut off from the outside world.

As the first play started, our row settled into a common stance - arms resting on the bar before us, bums braced against the wall behind, feet positioned wherever our belongings allowed.

The warmth of the candles wafted up, brushing our cheeks.

I leant back, enjoying the feel of the cool walls through the back of my dress.

But the lure of the play was too much and I was soon back on the bar, leaning forward to catch what glimpses of the actors were available.

The air grew hotter.

I ran my finger inside the neck of my high neck of my dress. The satin-frilled collar didn’t allow much in the way of air to get through.

I settled on unbuttoning the cuffs of my sleeves and rolling them as far back as they would go.

That helped.

For a minute or so.

Could I unzip my dress? No one was behind me. I contemplated the acrobatics needed to reach my zip in such a confined space. Impossible... And let's be real here... super weird.

If I could just make it to the end of the play, I could try and grab one of the empty seats, I told myself. It wouldn’t be nearly so bad if I was able to sit down.

I was sweating. Heat rushed up and down my body. My head swam.

I was going to faint. Or throw up.

I didn’t know which was worse.

It couldn’t be long now. These plays were short, weren’t they?

The air grew thick, condensing over the flames below until it was impossible to breath.

I had to get out of there.

“Excuse me,” I said to the woman next to me.

With a whispered warning about the positioning of her bag, she slipped out of the row and let me past.

“I’m going to faint,” I announced to the usher. I really was.

She swept back the curtain and escorted me outside.

The cool air of the corridor flooded into my lungs.

I breathed it in greedily.

“This way,” she said, leading me back into the modern world. “This lady was feeling faint,” she explained to the ushers waiting out in the upper gallery foyer.

They lept up, sitting me down in a chair and fetching me a glass of water as I fanned myself with my hand.

“Sip that slowly,” said one, wearing a top that indicated she was a first aider.

I did my best, but the urge to tip it all back in one was almost overwhelming.

As the internal combustion engine in my chest gradually lost steam, I began to gather my thoughts.

The first of which, I am ashamed to admit, was: wow, this is quality blog content going on right now. My second, no less cerebral, was: I wonder if I'll make it into the show reports. I've always wanted to be in a show report.

They are such good fun to read.

It would be the audience member equivalent of having a character in a play based on you (quality call back to one of the night’s plays - Katie Hims’ Three Minutes After Midnight, right there).

Do we all know what show reports are? I feel if you are reading this blog you probably do. But just in case, they are basically a debrief on everything that happened that evening. Props that failed. Lines fluffed. Entrances missed. Jokes that didn’t land. Audience members who fainted. You get the idea.

“Here,” said the first aider, grabbing one of the free programmes and fanning me with it until I was back in the real world and not thinking about show reports. We laughed. “How are you feeling now?”

“Warm,” I said. But not likely to faint. Or throw up. Which was a relief. “I think I chose the wrong outfit for this theatre,” I said, smoothing down my velvet dress.

“Yes, I always stick to t-shirts when I’m working in there.”

“Yeah, this was a mistake… I’ve even got heattech under here.”

“Oh dear!” she exclaimed, clearly horrified. “You can take it off. There are loos just through there, if you like.”

That sounded like a good idea.

I headed where she pointed, got lost, but then managed to find the loos anyway.

They were gloriously cool. And empty.

I managed to wrestle my zip down, remove the blasted heattech, and then put myself back together again.

I left my cuffs unbuttoned though, and repaired to the sink where I ran cold water over my wrists.

I felt so much better.

That was, until I spotted my reflection. 

Good lord, I was a sweaty mess.  

I'd left my bag in the theatre. I had no way if repairing it. 

Oh well. 

As I was leaving, I saw my first aider chatting to the duty manager, asking about getting the heat down in the theatre.

I slinked away, ashamed at the chaos I was causing. 

“You can sit down over here and watch,” said the usher who was still posted upstairs. She waved me into a seat and indicated the screen showing the live feed of what was going on inside the theatre. “I’m afraid the volume can’t go any higher,” she added as an apology for the poor sound quality.

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“Do you have a programme?” she asked.

“I do.”

“You can have another if you like. Follow what’s going on.”

For the first time in my life, I turned down the offer of a programme. Just like when you’re car-sick, I believe it’s better not to read when you’re feeling queasy. All that looking down and focusing. Not good.

We sat together and watched.

A few minutes later the first aider returned, and they switched places.

“How are you feeling?” she asked, full of concern.

“Much better.”

“Fancy heading back in?”

I absolutely did. Mama didn’t raise no quitters.

“The play's almost over. When the angel comes out, I’ll take you back in.”

We waited, watching the screens. Eventually a winged figure emerged from the doors behind the stage. An angel.

She led me back in, handing me over to the usher on the door.

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“You can sit over there,” she said, pointing to a vacant spot on the end of a bench.

The view from there was marvellous. The mirror-like stage glowed under the light of the candles.

I looked back at Helen, who was still stoically standing in her five-pound spot. 

I probably should have sprung for a better ticket. 

Almost fainting is certainly one way to get a free upgrade, but perhaps not a route I would recommend following.

Yup, that's me

I've said this before, but good lord, for a theatre marathon, I'm doing one hell of a lot of running.

I know, you don't have to say it. Less than a month in and I'm already having to repeat myself, but if you will forgive me for just a moment - I need to apologise to everyone who was in Waterloo last night. I was sprinting to catch the train to Richmond, and I may not have been entirely considerate of my fellow travellers. 

Thing is, I really couldn't afford to miss that train.

Do you know how far away Richmond is? So bloody far!

There I was, running through the station, my legs getting tangled up in my long dress, and I'm clinging tight onto my shawl, my bag, and my sanity, half-expecting to hear a record scratch to be played through the tannoy and to hear my own voice saying all sardonically: “Yup, that's me. You're probably wondering how I ended up in this situation…” in true Ferris Bueller mode, when I stopped.

Freeze frame.

Yup, that is me.

I’ve just remembered that I forgot to buy cough sweets.

Again!

I dithered, getting in even more people’s way by my lack of ability to decide.

Did I need them? Really?

My cough wasn’t that bad. I’d managed to go a whole two-and-a-half-hours without spluttering over everyone the previous night.

Except… except… the Orange Tree Theatre is small. And not only is it small, it’s in the round. Seating is on all sides. A little thought-of side-effect of having the stage plonked in the middle of the audience is the lighting - you’re never truly in the dark. You can see everyone else sitting in there. If I coughed, everyone would know exactly who to blame. I wasn’t sure I could deal with that level of shame.

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I turned around, rushed over to Boots and bought the damn cough sweets.

(Jakemans’ Honey & Lemon Menthol, by the way. The ones in the big yellow bags. Much recommended).

Then I really did have to sprint.

I don't think I could possibly be doing more running if I was training for an actual marathon. A real one. One with timed running and not running times... sorry.

My brain has dissolved into a Pepto Bismol pink liquid after all that aerobic exercise. I was not built to run. I'm one of life's saunterers.

Still, it was worth it. I made my train.

Got a seat and everything.

And my cough sweets.

I was ready to do this thing.

The Orange Tree is just down the road from Richmond station. I've only been there the once before. To see An Octoroon. Because my friend Helen made me.

I don't usually travel for theatre. Even to Richmond.

Or, rather, I didn't used to travel for theatre. Now I practically live in south London, what with the amount of theatres down there. 

The fact that me and Helen are still friends indicates what a good play it was.

Anyway, what I'm saying is, is that I knew what to expect.

The theatre is housed in an old gothic schoolhouse, which made me extra glad that I had dressed as Jane Eyre that morning, in a long, vintage, black velvet dress, with covered buttons and a white lace collar. Think: Ruth Bader Ginsburg at her sassiest.

If you’re thinking that was intentional… it wasn’t actually. I was wearing this massive velvet dress that I can’t run in because I was off to see the Restoration comedy The Double Dealer, and after barely surviving the costume-envy of Gentleman Jack, I wasn’t about to make that mistake again. I was going in with all lace blazing.

"What's the surname?" asked the guy at box office as soon as I was within three feet of the hatch. 

"Err," I said, caught off guard. "It's Smiles. S-M-"

I'd only got half way through spelling it before he was already asking for the first line of my address.

I don't think I've ever been processed so fast at box office. 

I came away, clutching my ticket, feeling a little dazed by the exchange. 

But while the box office may be on some sort of efficiency drive, the programme seller wasn't having with that nonsense. 

"Ah!" he said, sounding delighted that someone actually wanted to buy a programme. "That's 3.50." Adding an "excellent," as I handed over a crisp fiver (can fivers said to be crisp now, in their new plasticky format? Slippery perhaps...).

Ticket in one hand and programme in the other, I headed to the bar. Close to the bar. In the general vicinity of the bar, anyway.

The queue was at least ten deep and everything approaching a horizontal surface had been requisitioned, coating the room in a carpet of grey hair and walking aides.

Everyone there was at least a hundred years older than me. 

I felt positively youthful standing in the midst of it all. 

I slipped into the least densely populated area and tried to stand as still as possible to avoid getting knocked over.

Sales of tea looked strong. There were even tea urns ready to go on the bar. Along with milk and sugar and all the other accoutrements of a good cuppa. With the constant clink of teaspoon against saucer, you might think yourself in a tea room on the Devon coast. 

Now, don't get me wrong. I love me a cup of tea. There's nothing better in the world when you're tired, or cold, or sad, or angry, or... well, literally any emotion you care to name. But at the theatre? In proper cups? Where do you even put them? Do you balance the saucer on your knee every time you want to clap? That sounds like a recipe for scalded knees.

I needn't have worried. 

The cups were left safely behind at the bar. 

The Orange Tree audience knows how to drink a cup down fast. Years of practice, no doubt.

"B10," said the girl on the door as she checked my ticket. "You're just on this middle row here."

"Great." 

"But there may be someone sitting next to you."

"Oh, err...?" 

Now, I may not have looked as... well-rehearsed as the other audience members heading in, but I am old enough to know that going to the theatre usually involves sitting next to at least one person. 

"B11 isn't marked, but there is a space. You may need to squeeze in," she explained. 

"Oh, I see," I said, not seeing at all. 

B10 turned out to be on the end of a row. A row right next to the staircase that spiralled it's way up to the balcony. A row that was already mostly full, requiring much apologising on my part, and shuffling from my new neighbours as I inched my way past.

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When I reached my spot I looked at the space assigned to B10. It looked generous enough for one person, but I couldn't see how another person could possibly fit in, even if we all huddled up and breathed in.

That didn't seem right at all. 

The theatre gods were on my side though. And no one came to claim the mythical seat B11.

The cast soon emerged. In full 17th century glory.

I touched my lace collar, checking it was sitting properly. 

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The ladies swished their heavy skirts as they took the stage.

I smiled at them, as a fellow fab-dress wearer, a deep sympatico stretching out between us.

Then I spotted something. Tied at their waists.

Pockets.

Proper, external, 17th century pockets.

My dress doesn't have pockets.

I stopped preening. 

I had been bested once again. 

They waved and nodded at the audience, greeting individuals. 

"Have you started yet?" asked the man sitting in front of me as an actor passed us on his rounds.

He laughed. "Sort of," he said. "You could say it's a meta theatrical pre-show."

Blimey. 

Then a dreadful thought occurred to me. 

What if B11 wasn't a seat at all? What if it was a cast member who was going to perch themselves next to me?

Oh gods...

The show started. The actors spoke to the audience. They handed over their hats and bid people wear them. They asked questions and shook hands. 

Every time they pounded down the staircase I froze. 

Please don't sit next to me. Please don't sit next to me. 

A fight broke out. A performer reached for the hand of a man sitting in the front row to help pull him free.  

There was no way I could cope with that level of audience interaction. 

I would die. 

Literally die.

I must have sent up a thousand prayers to the theatre gods during that first act. I promised them I'd finish my marathon. That I'd buy programmes. That I'd never come under-stocked with cough sweets. That I'd be the perfect audience member. 

Just don't let them sit next to me, I begged.

It worked. They didn't sit next to me. 

The theatre gods are cruel. But they are not unreasonable. 

Rose-tinted theatre

I’m going to like this place.

That was my thought the second I walked through the door of the Arcola.

I don’t know what it was that provoked such a strong reaction. Perhaps it was the pink coloured light that blazed out over the door. Or the fact that it was an easy walk from my work. Or maybe that being so close to an overground station, my journey home was going to be a cinch. The staff, bustling around in their branded aprons, demonstrating open friendliness and scary efficiency in equal measure, might have contributed to my thought process. The £1 playtext sale must have helped. And the huge yellow sign over box office proclaiming “Tickets” which is exactly the no-nonsense, anti-jargon, stance that I can get behind. But between you and me, I think it was the bench.

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There, slunk low, just inside the foyer door, was a long wooden bench. Exactly the sort you would find in a school gymnasium. It conjured up memories of being five years old and doing bunny hops along the full length. Bunny hops were my absolute favourite thing to do in gym. Leaping about from one side to the other, while gripping onto the surface of the bench for support. The feeling of flying as you soared over the bench. The power in your arms as they take your full weight for that fraction of a second. It doesn’t get much better than that. Plus, no one is throwing anything at you and expecting you to catch it.

"Is this for Daughter-In-Law?” asked the woman at box office (or “Tickets”) as I gave my name.

Wait, what?

I looked around. There, to my left was a sign. “Studio 1.”

Shit.

Double shit.

Shit on a cracker.

The Arcola has more than one theatre.

The warm glow that had been sitting in my stomach at the sight of the bench wavered. I had another theatre that I needed to add to the list. 251 theatres in London. 252 now. And this was only number 25.

Shitshitshitshitshit.

I managed to fight through the pain and indicate that yes, I was there for Daughter-In-Law.

She glanced at the ticket.

"Now you'll have to go outside and back in. There’ll be a bell when it's time. I'm afraid no drinks are allowed in these seats."

But I wasn’t paying attention.

252 theatres. I wasn’t even a tenth of the way through my marathon and I’d just found out that another mile was being tagged onto the end.

I could feel myself boarding the Anxiety Express. I needed to think nice calming thoughts.

Tickets (real tickets). Programmes with full-page photography…

Wait.

"I think I ordered a programme?" I posed it as a question, but I definitely recalled seeing programmes for sale during the online booking process and I couldn’t imagine not sticking one in my basket.

"Let me check," she said.

"I mean, I might not have,” I prattled on, suddenly starting to doubt myself. “But I feel very strongly that I did."

She checked.

I had.

Phew.

It was still early, so I took myself and my programme over to the bunny-hop bench and had a flick through (really good by the way. An absolute bargain at only £2 online. £3 at the theatre. Lovely paper-stock. Interesting articles. Recommended).

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As I stood, reading about D.H. Lawrence’s use of dialect, something jabbed at my leg. I tried to swat it away with my foot, but only succeeded in stubbing my toe. I looked down, fearing some creepy-crawly had got my leg.

A massive splinter was sticking out and clawing at the back of my calf.

The bunny-hop bench had betrayed me.

I felt less kindly to it after that.

I decided to go for a wander.

The bar looked nice. But busy.

Staff everywhere.

And on the wall… oh bliss… oh rapture.

Cast sheets.

Free for the taking.

Good lord. Programmes, real tickets and free cast sheets? Arcola, you spoil me, you really do.

See? I couldn't stay mad at this place for long.

Soon enough, the theatre bell rang as promised and people began to saunter out.

I busied myself tucking my cast sheet away in my bag, and by the time I looked up again, the door was banging shut after the last person had left.

I hurried after, heading back out into the street, rounded the corner and headed for the brightly lit door and the other end of the building.

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Hmm. That didn’t look right.

Where did the lady on box office say I was supposed to go again? I hadn’t been paying attention.

Shitshitshitshitshit.

This was going to be another The Wrong Door situation again, wasn’t it?

The Anxiety Train going full speed by this point. I backtracked. I’ll just go back inside, and ask, I told myself. Like a normal, functioning adult. It’s fine. It’s all fine. There’s plenty of time. No need to stress.

I didn't make it that far. 

Just as I was about to head through the main door, I spotted another one. It was narrow. Barely a slither in the stonework, but there was no question, this was The Right Door. 

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I must admit, I'd been a little worried about what sort of seat I'd get. Usually I just buy the cheapest and hope for the best. But this time, I levelled up. 15 quid for a value ticket instead of a ten pound restricted view one. I prayed to the theatre gods that it was worth it.

After making almost the entire length of my row stand up to let me past, I made it to my seat it the front row of the balcony. 

There was a pillar in front of me, but so narrow I forgot it was there within minutes. 

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What I didn't forget was the cold.  

Eighty minutes is a long first act at the best of times, but when you're stuck in your seat, shivering, it can feel like an eternity.   

I thanked the theatre gods that I had remembered to back my shoe grips in my Theatre Survival Kit that morning. The pavements were bound to be icy by the time we got out of there.

Don't get excited. My Theatre Survival Kit, such as it is, is mainly composed of whatever crap I remember to shove in my bag to help me get through these very long days. Snacks and... well, mainly snacks. But also the aforementioned shoe grips on icy days, a folding fan for warm ones, and cough sweets all year.

Speaking of cough sweets... I reached into my bag. I've had a cough since Christmas, one that refuses to go away. It's always made worse when I'm stuck in confined spaces. Like lifts, or the tube, or theatres. I could already feel a small niggle starting at the back of my throat and...Shit. No cough sweets. I had meant to pop out over lunch and restock but I'd... forgotten.

I stuck my hand right down to the bottom of my bag, past my wallet, my book, my Tupperware and shoe grips, and explored the slightly sticky base, feeling in between the empty wrappers and forgotten receipts.

Ew, when was the last time I cleaned this thing out?

After much scrabbling around I found one, lonely, cough sweet. A little bit dusty from accumulated bag debris, but by that point I would have sucked on the contents of my hoover bag if it promised some relief.

This play better be worth it, was all I could think at that point.

How wrong of me to doubt them.

I should have known the Arcola wouldn't do me wrong. 

The first act flew past. As did the second. And I didn't cough once, well... not until the curtain call when I suddenly remembered about my tickely throat. 

Now, Arcola. You need to package this shiz. You and me. We can make a mint. Or rather... a cough sweet (sorry). Arcola's Awesome Cough Remedy: two and a half hours of relief - guaranteed! As approved by the overtired theatre-marathoners of London.

​​Call me, yeah?

Wet floor, warm hearts

I went to the Sadler's Wells archive in Finsbury library yesterday. It's not a theatre. Just records of a theatre. Stretching back hundreds and hundreds of years. They have massive playbills from the 1840s. And a letter from Margot Fonteyn’s mum to Ninette De Valois asking about ballet lessons for her daughter. It doesn’t count towards the marathon. But it was fun anyway, and if you're interested I have some photos over on my Instagram.

Don’t worry, I did get to a marathon-qualified venue eventually. 

Even if the weather did its best to stop me.

Neither snow nor rain nor heat nor gloom of night stays this theatre-goer from the slow completion of her marathon.

Fucking snow.

If you can call it snow.

It was sleet at best. Or perhaps we should just call it slush. Airborne slush. That didn’t even have the decency to land on the ground before becoming dirty and grey and gross.

But I made it through. Me and my umbrella. Battling through the cold and wet to make it to Regent’s Park. Hugging the buildings the entire way to avoid the huge splashes of frigid water that lept up to bite my ankles with every passing car. My boots sliding around on the icy pavements. Unable to see through the curtain of snow that was pounding down on us all.

Turning the corner and seeing the warm lights of the New Diorama Theatre blazing out against the dark square was like being called home to a roaring fire and a pot of freshly brewed tea. I could feel my entire body relaxing. I had made it.

A few quick shots for my Instagram stories and I would be inside. I even thought I might order myself that tea.

I positioned myself in at the other side of the square, balancing the handle of my umbrella on my shoulder and trying hard not to think about chilblains as I peeled the mitten-portion of my gloves off my fingers.

Lined up my shot. Sign visible. Outside not too dark. Foyer welcoming. Nice.

Then my phone shut itself off.

Fuck.

I tucked my umbrella handle under my chin so that I could use both hands to turn it back on again, key in the code and relaunch the camera app.

A few minutes later we were back. The battery half-drained but no matter. I could deal with that later.

Prepped the shot again. Sign. Outside. Foyer. Welcoming. Nice.

The screen went black.

It had turned itself off again.

By this point my fingers were so numb I couldn’t even feel the power-button. I smashed at it a few times and hoped for the best.

Shit. The battery was dead.

Shivering by this time, I fought my way out from under my massive shawl and wrestled the zip of my bag open. There was no need to panic. I had a charger. Finding a black charger, in a black bag, with numb fingers however… tricky.

#GothProblems. Am I right?

My fingers eventually managed to wrap themselves around the wire and I hoiked it out.

Plug in. Smash button. Phone on.

We were back in business.

I got my photos, and sent my Instagram Story. I just hope my Instagram followers know what I go through for them. Ungrateful sods.

As I shook out my umbrella and pushed my way inside the theatre, I realised I wasn’t the only one suffering in this weather. Because there, shuffling around on the floor, where two staff members. I paused, hanging back, wondering what a person was supposed to do when confronted with the sight of two women crouched down on their hands and knees.

“That’s better,” said one of them, sitting back on her feet.

The other kept on going, wiping the ground with a paper towel.

They were drying the floor.

I made sure my feet were safely on the mat and wondered whether I should give myself a shake like a dog coming out of the sea. Or perhaps ask to be hung up somewhere warm so that I could drip-dry in peace.

I waited for them to finish before venturing over to the box office. A real box office! There might even be real... oh.

 "This ticket is recyclable. Please hand it in as you enter the auditorium," proclaimed the laminated pass I was handed.

Recyclable? Damn them. I can't even be annoyed now they've played to eco-friendly card. 

"Are their programmes?" I asked, more in hope than expectation.

I was waved towards a pile of freesheets stacked in front of me on the counter. 

That was something at least. I took two. 

But next to the freesheets was something else. Something far more exciting. 

A little tray. And in the tray... 

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Badges!

I had already spotted them online while booking my ticket. But I hadn't expected them to be quite so big and shiny. 

My magpie eyes stared at them longingly. 

I had almost ordered one off their website. At two quid they are almost justifiable as a throw-in when buying a ticket. But my card hadn't gone through on the first attempt, and when I came round to try again the more sensible portions of my brain had caught wind of my intentions and put a stop to it.

But there they were. All enamely and gorgeous. 

I wanted one.

"Thanks," I said, pocketing my admission pass and walking away as quickly as I could. Stronger, yes. But badgeless. There were no winners here.

I decamped to the other side of the foyer to fold my freesheets and put them away, all the while sneaking glances a the badge tray.

A man came in asking about tickets to that night's performance. He asked a lot of questions. How much are the tickets? When does it start? Where is the theatre? Can I sit here?  (He asked that one twice).

I got the impression this was his first outing to a theatre. 

The woman on box office answered all his questions patiently and clearly. (He could indeed sit there). 

It was interesting to find out what a first timer felt he needed to know. But I didn't stick around to find out what else baffled him because the one and only sofa in the cafe had just been vacated and I was determined to sit on it.

Facing directly onto the floor length windows it was a prime snow watching seat, even if by then it was mainly rain.

Still, a great place to sit and read a freesheet. 

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I was enjoying it so much I didn't realise that the queue to go into the auditorium had been building up until it had filled the entire foyer and was spilling out into the cafe - right in front of my sofa. 

Oops. 

I quickly gathered my things and positioned myself in the midst of all these people. 

For unreserved seating, the house opened very early. Ten whole minutes (in should have been five, but the show started late) for us to sit around getting to know our fellow audience members. A time fully taken use of by my neighbour who insisted on introducing his elbow to my ribs on multiple occasions, despite them already being well acquainted.

The little shit.

He stopped once the play started, clearly too engrossed to waggle his arms about.

Or perhaps I was too engrossed to notice. 

After all the buzz about this play which merges the 1938 Orson Wells radio play, and the spread of internet trolls, I thought that the hype around Rhum & Clay's War of the Worlds might have been fake news.

It certainly would have made a better blog post if it was. 

But I can't fault them for being excellent... can I? No. I can't. Or maybe...? No. Sorry.  

I even have to award bonus points for having the tech team positioned in a booth overlooking the stage so I could watch them in all their glory.

After being so close (and yet so far) back at the Charing Cross Theatre, it was nice to finally get my fix of techy goodness. 

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Now if they could just fix my phone...​

Scratch that

7pm starts… man, they are a challenge. I don’t think I’ve ever walked so fast in my life, racing across London to get to the Soho Theatre in time for my show.

Apologies to everyone who encountered me. And most particularly to the poor guy at the box office who had to deal with my puffed-out mess when I finally got there.

"What are you here for?" he asked, when I finally managed to suck back enough air into my lungs to talk and give him my name.

Now there's a question. Who can even remember anymore? It’s a miracle that I manage to turn up to the right theatre on the correct night. Now they wanted me to remember what I was actually there for?

"Err, the scratch night?" I said, feeling like I was about to lose this quiz.

"The scratch night," he concurred with an approving nod. I'd got that one right!

My prize was one of the trademark Soho tickets. They have to be the most distinctive tickets in London. I certainly haven’t seen anything to match them yet. Bright pink. The colour of Barbie's Dream Car. They’ll sear your retinas right off if you look at them too hard.

I tucked it safely in my bag before too much damage could be done and headed to the bar.

One benefit off 7pm start is that I actually do get to see the bar.

The Soho Theatre’s bar is one of those places that I will always agree is great if anyone brings it up, but the truth is, I've never managed to have a drink in it. It's always been heaving to the point of unbearability every time I've been to see a show.

But yesterday, let the record show, at 6.45, I got a table.

I sprawled out on the banquette and luxuriated in the space. 

I can see why people think this place is nice.

Very comfy.

Very cool.

In a kind of show-posters-wallpapering-the-walls-and-neon-lights kinda way.

All the bright young things of Soho draped themselves over the tables as they talked about all the shows they were working on, generally adding to the aesthetic.

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“We should go see this,” said one guy, picking up a flyer to show to girl he was with.

“Oh, yeah. I know him,” she said, jabbing the person pictured on the front of the flyer.

Of course she did.

Five minutes later, a bloke came up and asked to share my table.

Thirty seconds after that, there were three of us perched around the small square.

The dream was shattered. My time was up.

But it was glorious while it lasted.

Oh well.

It was nearly show time anyway.

I made my way back to the foyer.

A small gathering had formed at the bottom of the stairs. Our way bared by one of those thick red ropes, we we corralled on the ground floor.

"Have we got an estimated time of opening?" the usher said into her radio.

The crackly voice on the other end indicated it would be a few more minutes. We waited, stomping about and sighing heavily. The herd was getting restless.

The usher backed her way against the lift, keeping a close eye on us as she clutched at her radio lest we suddenly charge.

Someone tutted. It was 7pm. The show was already running late. 

The radio crackled back into life.

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"The show on the third floor is now open. Chinese Arts Now Scratch Night on the top floor is open," she announced with obvious relief as we bolted for the stairs.

With unrestricted seating, it doesn’t pay to be slow.

"Anywhere in the first four rows," called the usher after us as we rushed into the auditorium.

As I dashed past her, I spotted a pile of paper on the bench outside the door. I lunged and grabbed one, not missing a step as I barrelled into the auditorium and dumped myself into a seat, spreading my coat and bag around me - marking my territory.

I plumped for the third row - the first one with a rake. Very important that. As a shorty, I need me a rake. Not that it was a particularly good one. The slight lift the third row offered only meant that I was given a hint of what was happening beyond the head of the person sitting in front of me. It was a concession to the idea of a rake, an acknowledgement that such things exist, rather than a full and proper attempt to give people sitting there any kind of view.

"Even the first paragraph is a lot. It sounds heavy, doesn't it?" said a woman in the row in front, peering through the gloom at her freesheet.

All those black walls, black ceiling, and low lighting, doesn’t make reading easy.

But I gave it a go, inspecting my own freesheet.

It didn’t take me long to spot the name of the venue I work for.

Written incorrectly.

If I would ever dare give a piece of advice to artists it is this, double check your credits before handing over your biography for public consumption. It’s embarrassing for everyone involved when you don’t know how to spell the venues that you’ve performed at. Especially when you return and I have to correct it for you (because I do actually proofread and edit the biogs that come through me… just saying, Soho Theatre…).

And look, I'm not insinuating that poorly proofread paperwork is my hell, but it was rather warm up there… It was almost like I was getting punished for all my complaining about the cold yesterday. “Oh, you want it warm, do you?” laugh the theatre gods. “Don’t worry, we’ll make things real cosy for you.”

I rolled up the sleeves of my jumper, trying to remember what I was wearing underneath. Or if I was in fact wearing anything underneath.

I was. Heattech. Worse luck. As the festival organiser was already giving us the hosuekeeping speech and there was no time to wrestle myself out of my sweater.

“There’ll be a short interval between the two pieces for the changeover. No time to go to the bar but time to pop to the loo.”

I sat still, thinking cold thoughts, and tried to concentrate on the performers instead,

I must say, I wouldn’t usually think somewhere like the Soho, especially their tiny upstairs studio, is the best place for dance, but it was wonderful to be so close to the dancers. Especially in a piece so focused on facial expression and small movement. 

Even working in dance I don't think I've ever got so close outside the confines of the rehearsal room.

What a treat.

As was the horsey helium balloon in the second piece. 

There was a post-show talk, but I wasn’t sticking around for that.

I snuck out, and offered a smile of apology to the dancers who were waiting in the bench outside. 

I’m sure everyone involved was perfectly fascinating, but I wasn’t losing my chance to be in bed by 10pm (literally all my hopes and dreams revolve around this one goal right now).

So off I went. Buzzed out of the door by the bloke on box office. Race back to the tube. Home via a short trip to Tesco. Fixed a hole in my favourite vintage dress. And in bed my 10pm.

Magic.

Cold beans and etiquettes

Can I start out by being a bit sentimental here? Just briefly. It won’t take long, I promise.

I just wanted to say thank you to, well… you. And to all the others who have been reading along as I crash around London watching far too much theatre. Knowing that there are hundreds (and hundreds!) of people out there, rolling their eyes at my exploits, makes seeing eight shows a week that bit easier.

Yes, eight shows.

With a double-show day on Friday, I could by rights have taken Sunday off. Taken it easy. Caught up on some much needed sleep. But no.

A few days back I recalculated the number of theatres I need to get to before the clock chimes midnight on New Year’s Eve. And unfortunately it went up, rather than down. I added all the venues in the Vaults Festival, the studio of the Little Angel (missed that one, oops), a few newly announced site-specific spots, and ended up with a figure of 251.

Still doable. Just about.

Don’t worry, I’m not giving up yet. But it will be a while before I allow myself the luxury of a weekend.

Not that I’m trying to guilt you into coming back, but… don’t leave me alone here. I need you to hold my hand, and like… maybe, if it’s not too much to ask, perhaps also stroke my hair and tell me I’m pretty. This is hard work. I’m just after a bit of validation.

With all that in mind, I put on my most vibrant red lipstick and headed over to The Pleasance for the 5.30pm performance of In Lipstick.

This wasn’t part of some suggested dress code, in case you were wondering, but I figured I might as well get into the spirit of the thing.

It has just occurred to me that The Pleasance is my first proper north London theatre. Which, as a north Londoner myself, is pretty exciting. That, combined with a 5.30pm start and a 90-minute, no interval, show, meant that I would be back home in time to make a proper dinner. Now that was really was exciting. I couldn’t remember the last time I had a proper, hot dinner.

These are probably the wrong type of thoughts to have when going to watch a play.

Especially a play which features a picnic. Doubly especially when the picnic is packed full of M&S goodies.

Conventional wisdom goes that one should never go food shopping on an empty stomach.

The same can be said about going to the theatre.

There’s nothing worse than watching an actor joyfully chow down on a mini pork pie when you’re hungry.

I could easily have clambered over the three rows in front of me and hoovered up the entire spread laid out on stage.

When I’m in charge of theatre, I’ll introduce and then enforce a rule that states that theatres need to start offering packed lunches with a sample of the foodstuffs that the actors are consuming. Nice food, obviously. In reasonable proportions. We don’t want a Cool Hand Luke situation going on in the stalls.

I anticipate some push back. Yeah, there’ll be some fuss about the noise. And possibly the smell. And I’m sure the cleaners won’t appreciate my new initiative, but I think if we pitch it as part of an immersive experience, it’ll get through even the most hardened members of the Theatre Etiquette Crew.

No? Not into it?

Okay, the lack of dinners may be focusing my thoughts in the wrong direction.

A cup of tea wouldn’t have gone amiss though. It was freezing in there. I had to use my scarf as a shawl and I was still shivering. Even then, I wrapped my arms so tight around me that when I got up to leave, my muscles had frozen into place and I feared I might be stuck like that forever - like a human pretzel.

Thankfully, the lack of heating was the only unpleasant thing about The Pleasance.

This is a theatre that knows how to appeal to me. It has great signage, a proper box office, a bar full of packed bookcases, and the signs for the loos actually say 'loos' rather than 'toilets,' which I think we can all agree is the nicer word.

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​Even better than loos, they have playtexts to purchase in place of programmes.

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Now, I love me a programme. You already knew that. I’ve made no secret of it. But a playtext-programme? That’s next level excellence. Because 1) if the play is good, you get to relive the best bits on your tube journey home, or conversely 2) if the play is bad, you can check to see how far you are from the end and prepare yourself accordingly.

It also meant that I had something tangible to take away with me in lieu of a proper, papery, ticket.

I don’t know what I did wrong, but I managed to turn up with an e-ticket. Which meant that when I got to the box office, there wasn’t a real one waiting for me to pick up.

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“You can just use your phone.”

What? But I don’t want to use my phone! My phone sucks. It keeps on switching off and losing battery and is basically the scourge of my life right now. What am I even supposed to do with an e-ticket? I can’t store it in my ticket box, and I can't get warm fuzzies from looking at them. And I like warm fuzzies. The world needs more in the way of warm fuzzies.

I considered asking for a printed ticket anyway, but working box office is hard enough without the added problem of dealing with me and my obsessions. So, I let it go.

I didn’t take me long to regret that decision.

While everyone else heading into the auditorium was getting their lovely tickets torn, I was sent away, dismissed, and directed to another usher, to get my phone scanned and beeped. Ergh. As theatre experiences go, getting pulled out of a queue and being beeped lacks a certain romance.

I didn’t put on lipstick special just to be beeped, like a tin can of beans.

A cold tin of beans at that.

God, I need to stop thinking about food.

And seeing shows with so much of it, kept tantalizingly out of reach.

Sausage rolls. Macdonald’s chicken nuggets. Scotch eggs…

Hang on. I’m just going to stick a slice of bread in the toaster. Be back in a minute…

Right. That’s better. I’m properly carbed up now. And I’m also running late. Great. Let’s wrap up then. Both figuratively and literally, as it is friggin’ cold out there today.

I’ll be heading back to The Pleasance a couple of times to check out their other spaces, and I’m not even slightly upset about this. But… perhaps I’ll leave it for when it’s a bit warmer. And I’ll be sure to select 'care of box office' when booking my ticket.

Beep!

Theatre of Dreams

Last night I was at The Shed. It was a very strange place to find myself, considering The Shed is a theatre that no longer exists. Where it once stood on the Southbank, its towering red walls bright within the shadows of the National Theatre that loomed over it, there is now only empty space. The wooden walls have been brought down and cleared away. But my subconscious doesn't seem to have caught up with these developments. Because last night, as I slept, I went back to The Shed.

It's not enough that I spend everyday writing and thinking about theatres, working for one during the day and visiting the rest at night. They've now started to invade my dreams.

It was quiet a nice dream though. I did like The Shed. I'm sad it's gone.

Unfortunately, it doesn't count towards the marathon. On account of it not being a real place anymore, and me dreaming up the entire trip.

Thankfully, I do have a bona fide, genuine theatre, that isn't made of sleep-deprivation and the murkier portions of my imagination, to cross off the list.

For once, I was off to an area of London that I actually knew. A bit.

Hammersmith. It's on the Piccadilly line. And close to the river. And it's home to the Lyric. No, not that Lyric. The other one. The one that doesn't house the source of all my anxieties while holding itself together with duct tape.

The station also has two doughnut shops in it. Which I feel is just the right amount of doughnut shops, and is something TFL should be looking at rolling out across the tube network.

These are all the facts that I know about Hammersmith.

Or the facts that I did know about Hammersmith. I have a few more now.

Like: The Lyric Hammersmith has some excellent signage going on throughout the building.

Yes, it’s all a bit cutsey. A bit… wannabe innocent-smoothie-copywriter-esque. But it’s big. And clear. And there is lots of it. Which is what we want from signage, isn’t it?

I found it all very soothing. It’s like Bach’s Rescue Remedy, except painted on a wall and without the aftertaste of rotten flower petals.

Also: Usually when you buy tickets via GILT (tickets from £10 in the New Year’s sale still available last time I checked), the ticket you are presented with at the theatre is from See Tickets. You probably know the ones I mean. They’re pink and yellow, with a starburst effect. Kinda ugly.

Not so at the Lyric. Here you get a proper Lyric Hammersmith ticket. With their branding. Including a heart watermark, and the title formatted in a brush-stoke styley font that matches the signage. You can tell that they spent on lot on brand consultants, and they are damn well making use of it. Nothing will go unbranded. I bet even the loo roll is printed with some uplifting and adorable tagline.

It might sound like I’m making fun, but that’s only because I am so in awe of this commitment to all things Lyric Brand. Kudos to whoever is the brand guardian at the Lyric Hammersmith. You are doing great work. May the theatre gods bless and keep you safe.

Lastly: There’s a super lovely terrace. And we all know how much I appreciate a terrace. I spent some quality minutes out there, taking photos and contemplating the heads of the people wandering down below.

Sadly, minutes were all I had, as it was time to head into the auditorium.

A few tasty signs later I got my ticket checked at the door, headed down a short red corridor and…

What the actual fuck?

I stopped dead, blocking the doorway. It was only when the person behind me coughed politely under his breath that I managed to gather myself enough to move over to one side. And then I stood some more. Staring.

Gilt? Plaster mouldings? Crazy-ornate ceiling?

Was I hallucinating? Had the lack of sleep finally got to me?

No, I was fairly sure my imagination is not that good.

It was real.

My brain refused to believe it. There had to be some other explanation for what I was seeing. Perhaps, it suggested, firing up some long neglected synapses, I had wandered through a portal to another dimension while making my way down that red corridor. Or maybe, piped up another thought, I had neglected to change lines when I got off the train at Leicester Square, and had made my way to one of the West End houses instead.

But the terrace? I argued.

“The Garrick had a terrace,” snapped back my brain.

But not like that. It was an itty bitty thing. It didn’t have plants.

My brain shrugged. “A portal then.”

I didn’t have the energy to argue anymore.

Final fact about Hammersmith: the auditorium of the Lyric theatre is housed in a separate dimension.

I took a few photos just to prove to myself that I had actually been there, that I had journeyed between two universes, and lived to tell the tale.

After that, I needed to sit down. The cognitive dissonance of stepping from a modern building into an Edwardian auditorium, full of curly architecture, was too much for me.

That may have been a mistake.

One thing that became very clear about this other universe is that the people are missing one of their senses. Either proprioception, or the one of the common variety. I swear every single person passing through the row behind me managed to thwack me across the back of the head.

I mean… maybe they saw me up on the terrace on their way in, and sensed that I was judging the top of their heads and thought I needed a good smack applied to mine. I know not. What I do know, is that I got a bit of a headache after the fifth person managed to introduce the corner of their handbag to my skull.

Thankfully it didn’t stop me enjoying the show.

Leave to Remain sounded very worthy when I booked it. And no fun at all. Thankfully, I was wrong. Very wrong.

It’s charming AF and was the cause of my second standing ovation of the year (my first was, unsurprisingly, at the Playhouse Theatre for Caroline, or Change).

I may have even had a little cry on the tube ride home.

Don’t judge.

I am very tired.

Travelling to another universe will do that to a person.

And might go someway to explaining my dream about The Shed.

Still, inter-dimensional portals or no, I look forward to returning. And I don’t even need to wait until next year on this one! The Lyric has a studio space that I have to see. I might even treat myself to a doughnut to eat on the terrace.

Science fiction, double feature

Is there anything more hedonistic than taking a half-day off work to watch ballet?

No, my friend. There isn’t.

And I can’t even blame the marathon for such an extravagant use of my time.

I’d had this outing planned for months. There was no way I was going to miss ballet-god Rupert Pennefather’s glorious return to the London stage.

Sadly, we all know what they say about god and plans.

But I wasn’t going to let the little matter of an injury and the resulting cast changes get in the way of my self-indulgent afternoon. So, after a quick lunch at my desk, I sauntered down to the London Coliseum. Or rather, the Coli. Everyone calls it the Coli. Or at least, I think everyone does. I certainly do. Perhaps just the pretentious twats who frequent it on the regular use that name. Of which, I’m sure I don’t need to tell you, I am very much one.

Which leads me to this question… how do I write about a venue that I am this bloody familiar with? One that I even have a charming nickname for? I can’t describe walking around in wide-eyed wonder as I’m sure I would have done if I’d been a newbie. The Coli really is the most extraordinary venue. Over-the-top in almost every aspect. It’s not just the gilt, and the velvet, and the massive stage. These are merely the base layer onto which Frank Matcham built his monument to excess. There are domes. Multiple ones. With stained glass. And stone gargoyles guarding the staircase. Marble balustrades. Mosaic covered ceilings (with umbrella’s to match). Carved wooden doors. Roman iconography. Golden horses. And then topping it all, a spinning globe lit up with the name of the theatre.

It has so much bling, even Elizabeth Taylor would think it a bit gaudy.

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The Camden People's Manifesto

"That sounds very communist," said my cake-eating friend Ellen when I mentioned that I would be at the Camden Peope’s Theatre on Thursday night (you may remember her from posts such as my Polka & The Space double-show day blog).

I’d been thinking of the Gettysburg Address: Theatre of the people, for the people, by the people. But a communist theatre right by Euston station sounded much more promising.

But, like with so many things with politics, I found it utterly baffling when I arrived.

There was a box office. I could see that. One that shares its desk space with the bar. Each end appropriately marked up with a sign. “Bar” to the left. “Box office” to the right.

Except, I couldn't get to either. A mass of people had congregated between the door and the counter.

Were they queuing?

I couldn’t tell.

By the looks of it they were merely milling.

Now, I don’t have a lot of experience with communist theatre. But come on, most theatres incline at least slightly towards the left. Surely things down this end of the political spectrum couldn’t be that different. I was fairly certain queuing was a universal concept. I just had to figure out where this one began, or ended.

Someone emerged from the theatre and there was lots of “there he is!” type of calls from the group.

Ah.

I see.

Friends of the playwright.

That made sense.

"You've all got comps waiting for you," the playwright announced magnanimously.

Yeah, well. That’s all very nice I’m sure. But I got a paid-for ticket waiting for me, and I would like to pick it up please.

I edged my way around the group, trying to get past.

“Is this a queue?” I asked someone nearby who looked like they might be a fellow-edger.

“You want to pick up tickets? The box office is just here,” said the lady standing behind the bar-half of the counter.

“Are you waiting?” I asked the other edger.

"You go if you want,” was his very gracious reply.

I did.

I’m not very gracious, so it looks like I may have queue-barged ahead of the one genuine person trying to pick up their ticket. Sorry mate.

The tickets turned out to be playing cards, marked up with CPT (Camden People’s Theatre. Come on now, keep up) on the back and a die-cut star punched out of the corner, lest anyone try to sneak in with a faked up playing card-ticket. Ingenious. I like it. And also deliciously mistrustful. Are there many people out there bent on sneaking into theatres with playing cards? Perhaps I’m just showing off my naivety here, but it that seems like an awful lot of trouble to go to. I don’t know. Maybe there are roving gangs selling individual playing cards with CPT sharpied on the back of them. “Wanna see a play?” they mutter as you pass them on a street corner, checking over their shoulder for any sight of the rozzers.

Frankly, if there really are people out there who are so desperate to see a play that they do go to the effort of putting marker pen to playing card, I say let them in. They deserve it.

“You can take one of those,” said the box office guy, clearly noticing how my attention was now fully taken up by the pile of cast sheets sitting on the counter.

I know. I’m sorry. You are so utterly bored about reading about my obsession with the more papery aspects of the theatre experience. It’s okay. You don’t need to say anything. I can tell.

I have a problem.

But these cast sheets… are really nice. The paper stock. Ooff. Thick. With a nice weight. And a subtle sheen.

If it were me, I would have given them a extra proofread, but… with paper this nice, who’s really paying attention to the use of quotation marks?

Fully stocked with paper, I went to find somewhere to sit.

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There are plenty of tables and chairs in the bar, but they all seemed to be taken. Around the edges however are these funny little benches which are just wide enough to perch on, but still so narrow that high levels of concentration are required at all times to prevent you from losing your balance and toppling off.

I grabbed one and clung on.

Sitting there, unable to fit on my very narrow bench, I couldn't help but think of the conversation I'd had with Ellen last weekend. It didn’t make it to the blog last time, but perhaps I held it back, knowing it would come in use in the future.

I'd mentioned being weirded out by the thought of going to see a kids’ show by myself, and that naturally led to a discussion about feeling nervous going to the theatre. There's been a lot of words, and even more money, thrown about at the top tier of the performing arts, in an effort to make theatre more welcoming. Opening up the building via the means of rejigging the architecture, and offering free tickets for under 18s, are current schemes at our city's two major opera houses.

"But places like that never bothered me," said Ellen, but with far more eloquence than I am able to properly recall. "It's the cool places that puts me on edge"

I had to agree. You can get lost in an opera house. And I don't just mean in the literal sense, wandering about while looking for the loos.

There are so many people there, it's easy enough to blend in. Whether wearing jeans or an evening dress, you'll just be one of the crowd. It's the smaller theatres though. The fringe-cool ones. The ones that served their community so well, they have started catering to a niche as narrow as their benches. That's where I feel my most awkward. 

I was definitely not cool enough to be here.

The seating alone should have told me that.

When the bell rang and I headed inside the theatre-space, I was somewhat alarmed to see that the front row was made up of what looked like those old wooden packing boxes. With thin cushions placed on top as the only concession to comfort.

I quickly bypassed those and made my way to the safety of the third row, where their were proper chairs.

The play was timely. And by that I mean it was about Brexit. Not that you'd know it until the punchline. You have to get through a very surreal first hour before the payoff of the final ten minutes hits.  

Curtain call over, everyone was very slow to move on. There was another play coming up. A double bill. I'd been tempted to stay. Adding the second play to my ticket order would have only have required a few extra quid, but there are no bonus points for repeat views in this challenge. And the idea of being back in my bed by 10pm was just too tempting.

Yeah, when I say I'm not cool, I'm not playing.

So, I was off. Even if this lot weren't. 

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As I started layering up, winding round my scarf and shrugging on my coat, ready to launch myself back into the freezing night, the applause started up again.

I thought the cast may have reemerged but I couldn't see them.​

"Max! Max! Max!" chanted the front row.​

Err. Thanks? I know my coat is pretty spectacular, but really... applause really isn't necessary. ​

Then the playwright emerged.​

The playwright who was dishing out comps to their mates.​

The playwright who is also called Max.​

Oh.​

So yeah, it is a bit communist but only in the sense that it benefits to be in the inner circle of our great leaders.

​All theatre-goers are equal, but some theatre-goers are more equal than others.

The great debate

I went off book last night. Or rather, off spreadsheet.

I was meant to be going to see a play about a man on the brink of suicide. It was all planned and marked up.

Wednesday / 16 January 2019 / Evening / The Loop / Lion and Unicorn Theatre.

I’d logged that at least a week ago. But when Wednesday morning dawned and I still hadn’t bought a ticket I knew that I couldn’t face it. I needed something more upbeat. Something with songs perhaps. So, I shuffled things around and decided to go see a musical about a girl with a massive, disfiguring scar on her face, chasing after a miracle that’s bound to let her down. Much more uplifting.

Now unconstrained by spreadsheets, I headed into the West End. Or rather Charing Cross. Or, even more specially, Charing Cross Station. Well, under it at least.

I have a soft spot from sub-station theatres. 17 days into my marathon and The Union Theatre is still ranking as my number one theatre experience (followed briskly by the Playhouse and the Brockley Jack. Not that it's a competition you understand. Except it kinda is). There’s something about hearing a train rumbling on overhead that makes a play feel so much more epic. It’s as if every production is set within a permanent thunder storm.

Both under railway arches they may be, but the Charing Cross Theatre is no wee little 75-seater. In the grand throw down between Charing Cross the the Union’s Waterloo, the north-of-the-river station would win tracks-down. On size alone, you understand. You could fit at least four Unions within the Charing Cross Theatre’s auditorium.

Everything seemed bigger at the Charing Cross.

As I pottered about in the foyer (taking mirror selfies, you know how it is), I spied the usher’s snack tray. Bags of Malteasers lined up next to king size Snickers and Mars bars. Holy shit on a cracker. Those are not theatre-snacks to be nibbled on during an interval. They are proper petrol-station snacks, built to sustain the a long road-trip.

The Charing Cross Theatre ain't playing no games.

They were West End (or at least, West End-adjacent) and they were ready to compete with the big-boys. This was no fringe venue. And they weren’t going to be confused with one. No matter what type of public transportation system was sitting on top of them, rattling their bones.

They even have a proper box office. Staffed by someone who seemed to have been hired for the sole reason that she radiated loveliness. Made all the lovelier when she handed me a proper ticket. One that I could take home with me. You see? West End. Definitely.

But then something caught my eye. There, on the box office counter. Something bright. Very bright. Orange even. Surely the brightest and most eye-catching of colours. And made of paper, which is always sure to get my attention.

“Can I take one of these?” I asked.

“Of course!” said the lovely box office lady.

It was a cast sheet.

Oh.

I looked around, checking for any programme sellers. Nope. No one. This was all we got.

So, maybe they are a fringe theatre then? If you squint and forget that the Strand isn’t just around the corner.

It makes sense. West End playhouses tend to been drinking great Edwardian things. Yes, there are outlets, but when you picture a West End theatre, there tends to be more in the way of curly architecture, and less, well... trains.

I had to do more investigating.

I wandered around, gathering evidence. West End or Fringe. It was hard to tell. It was all so conflicting.

Over my head there was a massive chandelier: West End.

But behind me was a strange arcade machine shoved in the corner: Fringe.

The ushers were wearing natty little waistcoats: West End.

But… what’s that?

 Is that a proper, physical, theatre bell?

I positioned myself near it, determined to catch it in action, but when the bing bongs came they arrived over a tannoy - with more than a little flavour of Hi-de-Hi!.

Oh.

That was disappointing. And it didn’t help settle the matter of West End or Fringe either way. Further disappointment.

With a heavy heart and a confused head, I decided it was time to go downstairs and take my seat. Hopefully the auditorium would hold to key to solving this mystery.

“Nice coat you got there,” said the usher taking my ticket.

“Oh, well, thank you,” I managed to reply, feeling a little flustered. It is a nice coat. There’s no denying it. But I don’t think I’ve ever been complimented on my outfit by an usher before

How do we even classify that? Definitely not West End.

Still preening, I took my seat. Row X. Ticket’s ain’t cheap at the Charing Cross (they have West End prices, that’s for sure).

But with the stage in the middle of the auditorium, and with seating either side, I may have been in the back row, but there were only 11 more in front of me.

And, even better, a tech desk directly behind. Like, literally, right behind me head. That was exciting. I love a tech desk.

I was looking forward to sneaking glances behind me during the show.

“So sorry, can everyone in this row move forward,” said an usher, leaning into the back row. My row.

We all blinked at him in incomprehension.

“If you could all just move forward, exactly as you are, to this row,” he added, indicating the empty row just in front of us.

It was happening. I was being moved out of my row. Just like with that bloke in the Vaudeville. I had seen how it should be done, and now it was time to make a stand. Or rather to not make a stand. I would sit. The revolution may have been slow to get started, but I would do my part. This was it. It was our time. We were going to rise up against our oppressors, the ushers.

I stood up, ready to face down the usher.

I looked at his smiling face and refused to break.

But then I remembered the coat-comment from earlier. And the lovely box office lady.

Reader, I’m ashamed to admit it. But I moved.

The seats in front were a little bit better. And I was still feeling pretty glowy after my compliment.

Glowy people don't start rebellions. They're too busy being smug and happy.

Revolution would need to wait for another day.

Our vacated seats were soon filled by the creative team, blocking my view of the tech desk.

Fucking. Rude.

My glow faded.

I crossed my arms and waggled my foot with irritation. The show better be good, I thought to myself. I was going to have to sit there, for a full hundred minutes, no interval, and have nothing to watch but the performers.

Lights dimmed. The cast emerged. And they started singing.

Over-amped, I sneered to myself.

I was determined not to have a good time.

And then I forgot. Forgot about being made to move. And the lack of a tech-desk view. Forgot about the creatives sitting behind me, until…

One of the groaned.

Oh dear. Something had gone wrong.

I scanned the stage. I hadn’t seen anything go awry. Perhaps this seat-stealing creative just had a stomach ache.

I lost myself in the show once more.

Until…

Another groan.

The cast sang on, still nothing visibly wrong.

His stomach ache must have been really bad. I wondered if I should offered the use of an aspirin. But then I remembered I was supposed to be annoyed with them, so decided to let him suffer through without medical assistance.

Besides, I was enjoying the show. And didn’t want to be distracted.

By the time I emerged back into Cavern Street shopping arcade I still hadn’t come up with the answer to my question: West End or Fringe?

Now, looking back on it all, I’ve come to a conclusion: I am not qualified to make such decisions.

Who cares if it belongs to the bright lights of the West End, or runs with the cool cats of the Fringe? Surely all that matters is the theatre, and what it makes us feel as we come together to form the single, living, breathing organism that is: the audience... ergh. That's theatre wankery if ever I heard it.

Fine. I'm calling it. It's West End. Done.

No one told me there would be running on this marathon

I swear I’m going to have a heart attack by the end of this year.

Last night was the turn of the Brockley Jack Theatre (or possibly the Jack Studio Theatre, I’m not quite sure. Their website isn’t very clear on the matter of what they are called), which meant I was back off to south London and had to endure all the transport issues that go along with venturing south of the river.

I thought I’d give the ThamesLink a go. Be adventurous. Avoid the trains.

That was a mistake.

I arrived at Blackfriars just in time for the 6.26 to Orpington. Excellent work. Except the train wasn’t.

Ten minutes later I was still waiting. Then twelve. Then fifteen.

I was beginning to panic.

No, scrap that. I had left panic behind back in the office. This was way beyond that.

Now, being a feminist and all, I have a problem using the word hysterical. But… stripping away the history of the term, as words go, it wasn’t far off what I was feeling. Inside. I think I managed to keep it contained for the most part. I mean, yes, a few people on the platform gave me looks as I bounced around on my heels, staring at the departures board with an unblinking stare and muttering under my breath. But they probably just thought I’d been mixing meds.

Finally, just as I was giving up all hope, and with absolutely no consideration of my nerves, the train arrived.

After that, it was easy. Well, almost. I’m fairly certain the American lady from Monday’s theatre excursion might have fainted if she had a sniff around Crofton Park station. Best just to hold one’s nose and make a run for it, I find.

I’m quickly becoming a connoisseur of the ‘how to find us’ pages on theatre websites.

And the Brockley Jack is a very fine vintage… can you tell I don’t know wine?

Regardless, so good where the instructions that the delivered me straight to the door of the theatre. Which turned out to be exactly what I didn't need. The pavement there was far to narrow to get a photo of the building. Where were the warnings about that, Jack Studio… or whatever your name is?

My first attempt to zip over to road was quickly aborted when I realised that I would definitely die. Instead I sprinted, yes - actually ran - down to the nearest crossing, jumped around waiting for the light to change, dashed to the other side, took my photos (all full of cars damn it) then scampered back for the return journey before making it in the door... fifteen minutes early. I'll say this for anxiety... I'm rarely late.

"Surname is Smiles" I said to the person manning the box office desk. I was a little out of breath. "S-M-I-L-E-S," I spelt out. I always need to spell out my name. Otherwise people tend to think they’ve misheard.

"I was just looking at your booking."

"Oh dear". Now, it's not uncommon for me to get that kind of comment when I'm picking up tickets. What with the aforementioned surname. I end up having some form of name-based conversation at least twice a week. Four times a week now that I'm hitting up so many box offices while in marathon-mode. But this man was not interested in my surname.

"It says here that you paid zero pounds for your ticket"

"Oh... ummm" I was fairly certain I had paid slightly more than zero pounds for my ticket. But perhaps I had somehow managed to circumnavigate the whole paying step without noticing. I thought back, trying to remember the transaction. I couldn't. There's been rather a lot of them recently. They all seem to merge together.

I looked where he was pointing. There, listed next to my name on the box office print out, was the figure £0.00.

“But I double checked the machine and you paid ten pounds.”

“That’s good…”

“Sometimes it just happens.”

“I can check on my end if that helps…” I said, reaching for my phone, not knowing quite sure how I would do that but wanting to show willing.

“No, it’s fine. You have definitely paid.”

“Oh… good.”

“Can I interest you in a programme?”

He definitely could. Only a pound. Bloody bargain.

Programme and ticket-token acquired, I was directed to the adjoining pub.

You could tell who all the theatre-goers were there. We all sat on one end, huddled together like awkward penguins, silent, surrounded by a mess of coats and programmes.

At 7.25, the theatre bell rang, and we stirred. Slowly at first. The bell’s clang taking its time to work its way into our trance states. One person managed to stumble to their feet, lumbering their way towards the theatre. Another followed. Until we all managed to stagger our way down the hall, like a plague of zombies, except slightly more worn-looking.

The theatre itself is teeny tiny. Although seating is technically on three sides, two of the sides only manage about fifteen seats between them. End-on, there is a single row at stage level, and then a further three tucked away on a platform behind them. Plonking myself in the second row, I managed to enjoy the twin pleasures of having a view unobstructed by any heads in front of me, and none of the vulnerability associated with sitting out front. It doesn’t get much better than that.

I was there to see Gentlemen Jack, which I chose for two reasons. Firstly, I liked the idea of double-Jack action, what with the play name and the theatre. What can I say? I’m a simple person. The other was that being about Anne Lister, the 19th century diarist, mine-owner, and very-out lesbian, the play had a higher chance than usual of containing bonnets.

After the disappointing lack of frothy-headgear in my last theatrical trip to the 1800s, I was doing my best not to get too excited about the prospect. I do get why directors might not want to insert bonnets into their plays. They obstruct the face and all that. But god-dammit, I love them. And they are period appropriate. And and and… I just want bonnets. Is that too much to ask?

No, as it happens. Because this play delivered.

Yes, my friends. There were bonnets. Multiple ones. 

I was so bloody happy.

What a fucking excellent play. I really enjoyed it.

Not just because of the bonnets you understand.

I mean, it was mainly the bonnets. But there were other things too.

The entirety of Lister’s wardrobe, for one. All black. All fabulous.

That floor-length black velvet coat? Yeah, I wanted to take that home with me.

It made me feel quite gauche sitting there in my dress covered in a loud and obnoxious print of red roses. Yes, it was from Killstar. And yes, the roses had some spiky grey thorns. But my Goth-points were running at an all time low in the face of such Regency-gothic goodness.

And then the lacey dressing gown worn by one of her lovers… damn. I should wear more lace. My life is definitely lacking in the lace department.

I wonder if I can get one on eBay…