A Long(ish) Review: Diaghilev and the Golden Age of the Ballets Russes

All right, I know I've been dragging my feet on this one--mostly because it's such a great exhibit and I wanted to do it justice.

Two weeks ago Will and I saw the "Diaghilev and the Golden Age of the Ballets Russes" exhibition at the Victoria and Albert Museum. Unlike the regular museum, these special exhibits do cost money, but the ones at the V&A are especially wonderful and worth the cost. A few days prior we had seen the "Book of the Dead" exhibit at the British Museum. Don't get my wrong--it was a very interesting exhibit, with a lot of information. And I really do love studying ancient Egypt. But it just felt so...museum-y. Not engaging. Like a continuation of the fabulous Egyptian collection they have upstairs. It didn't really seem worth the money.

But the moment we walked into the Ballet Russes, we were floored. The V&A know how to put on a show.

Poster from 1909 production.

I didn't know much about the Ballet Russes--only what I had learned in history of design. For instance, it was started at the beginning of the 20th century. Stravinsky's input--Firebird and the Rite of Spring, was something I had remembered. I also knew of Paul Poiret and his "Orientalism" and the influence of the dress and costume of the group and the time period. But in the exhibit I learned so much more. About Diaghilev, about his tumultuous relationship with Nijinsky (both his lover and star), and about the other designers and collaborators involved.

The famous, talented, tragic Nijinsky

Diaghilev in 1924

Oh yeah...did you know Picasso did scenic and costume design? Because I didn't until I saw this exhibit. And some of his stuff was quite out there. Think giant cubist cardboard robot soldier costumes...

Oh and Coco Chanel made an appearance as a designer too...

But what I really appreciated was the way the V&A staff integrated all aspects of the production company into the exhibit. They had areas that focused, in depth, on the costume. On scenic design. On Diaghilev's personal history. A room about choreography, video interviews playing on the music and how it was so influential. Projections of different productions of Rite of Spring and Firebird. It also went in chronological order--telling the story so artfully.

I also learned more about Leon Bakst--particularly his costume design. I absolutely fell in love with his rendering style, and have certainly seen it before. Yes, some of the design became more and more abstract over time--with Bakst, and with Ballet Russes as a whole--but even with the pieces I didn't particularly love, I appreciated them all the same.

Bakst's costumes for Daphnis and Chloe

The famous rendering of Columbine. Sleeping Beauty, 1921.

Natalia Goncharova was another amazing costume and scenic designer from the company. It was so refreshing to see a female doing so much at that time period (along with the painter Laura Knight). Her scenic designs for Firebird were incredible. And the show stopping piece in the exhibition was an original drop from the production. Now, when you see a painted drop in a theatre, it doesn't seem that massive in comparison to the scale of the theatre. but take a 30x40' or so drop and put it in an exhibition hall in a museum. It is massive. It is spectacular.

A rendering that became the amazing drop.

The Scale. No, that's not me in the pic. Found it on the internet.

Can you imagine what a production meeting must have been like in a room full of these men and women? So much talent in one room. Yes, the collaborators came and went, yes, there must have been a lot of debate. A lot of arguments. But what they created was something incredible. I though I wasn't a fan of dance. I wrote off the design, to a degree, because it wasn't personally my favorite. But now that's changed. And I have a new appreciation for the Ballet Russes after seeing this exhibit. I am humbled.

Anyway, if you have a chance to see this exhibit, I say that it is a must. For those of you who don't, there is a fantastic publication on the Ballet Russes.

 

To all of you, Happy New Year (about 8 hours later, that is). I wish you all good health and the best of luck with all your endeavors. Next post: finally a review of Priscilla. One word: Sparkles.

xoxo,
Antonia

Murder, Mayhem, and Mystery...

...ok so life isn't that exciting right now, sorry to disappoint. But it is an adequate title, as I have noticed myself gravitating towards crime/mystery novels and television of late. Psych, Castle, Doyle, Christie--you name it. I've loved the genre since my early teens, but I dunno...there's something about being in London that has reinvigorated that passion. Recently I read "The Man in the Brown Suit" for the first time, and am currently re-reading "Death on the Nile." I really do enjoy writing--hence the blog--and I think if I were clever enough to come up with a good crime plot I'd love to write a mystery novel someday. Perhaps London will inspire me.

Today it certainly did. The holidays were a particularly hectic time this year, and I felt a bit crazed. Afterwards I immediately began work on my revamped portfolio. Now that its done, finally I feel I have some time to relax.  Sometimes my favorite days here in the city are the days where I just wander. After the portfolio printing was done, I went to Cafe Nero for a muffin and coffee. Instead of eating in, I took it with me on an extended walk--just a wander--through the parks and streets of London. It wasn't a particularly lovely day--it misted, it was overcast--but it was also warmer than it has been of late. I took the opportunity to get some exercise.

Through Green Park I went, down by Buckingham Palace and glimpsed the Horse Guard Parade. After that I went through St. James park and didn't rush. The holiday season meant so much hustling and bustling. I was sick of walking fast, sick of bumping into the crowds (on Oxford and Regent Street, particularly), and feeling anxious. I walked slowly. I looked at the birds. I found out in the 13th century it was a leper colony.

Through the Horse Guard Museum I went, wondering as I past the mounted guards how they get their horses to stand perfectly still. I ended up on Whitehall road--to my left was Trafalgar Square, to my right was Houses of Parliament. It was noon, and Big Ben's tolls echoed through the surrounding area. Such a distinct sound.

Then I heard another distinct sound--a song. Beatles? Blasting...really really loud. Coming from the direction of Embankment. I walked towards it, confused. Then I heard Michael Jackson. And other dance party songs. This certainly wasn't someone's car speakers. This was professional.

Of course. Right on the edge of Embankment they were setting up concert speakers and doing sound tests for the New Year's Eve celebration tomorrow night. The big one. The fireworks. You know, the one you see on Dick Clark's (or is it Ryan Seacrest's?) New Year's Eve when they show scenes of something that's really happened 8 hours previous. It would be so amazing to go there tomorrow night--but when I think about it, the experience wouldn't be worth the hassle. Trampled by people--worse than Time's Square. Cold, tired, and jam packed Tube home. Crazy drunks. No thanks. But really cool to watch set up today.

From there I walked to South Bank, near the National Theatre, and Sat for a while. It was so peaceful--everyone was still up at Oxford Circus. I always though pre-Christmas shopping was the worst time of year to go to these commercial centers. But it was nothing--nothing--to what I endured the past two days when I had to run errands around there. After Christmas/Boxing Day is the worst time in London. Oh, and everything is closed--post offices, print shops, everything you kind of need....and no one seems to care.

But anyway, today was peaceful. I then walked to the Waterloo Station area and stopped by my favorite discount bookstore (it's kitty corner with the Old Vic--I forget the name but Londoners--check it out). If you want a classic, they have them all, and for only 2 pounds each, or 3 for 5. For less than I paid just to pick up Death on the Nile at Waterstones, I nabbed A Study in Scarlet &The Sign of Four, Pride and Prejudice, and another mystery novel called The Moonstone by Wilkie Collins. I'm looking forward to diving into all of these. All London/British based too.

And now I sit in the Lounge, relaxing till my next round of work begins. And, of course, bracing for more closures on the Bus, Tube, and everything vital this weekend, as New Year's Eve/Day holidays span Dec 31-Jan 4. Bravo, Britain.

At least I'm stocked up. 

xoxo,

Antonia

Winter Highlights

As Christmas approaches and I have no energy to make long posts (I WILL review Ballet Russes. and Priscilla), here are some pictures of the last few weeks and what I've been up to.

Changing of the Guard at Tower of London 

 The Tower at night.

 Tower Bridge

 Will's natural home

 Back at the Natural History Museum

 The Chocolate Bar at Harrods

 Indiana Jones riding a Trex

 Cream Tea at the V&A

 King's College and Chapel at Cambridge

 Cambridge

 Inside King's College Chapel

 Will and Uncle Brian playing Wii Sports Archery.

 Snow! How quaint.

 Houseboat on the River Cam

 Cream Tea at the Orchard with Emma and Jane

 The River

 Trafalgar Square on the day of the white out.

 V&A!

 221B Baker Street

 No trains running. Snow. Nightmare.

Birthday Cake for Will!

 It's gonna be a party.

More on Picassa. 

xoxo,

Antonia

Stranded.

So you know how you tend to be sitting at home round Christmas, in sunny California, enjoying the company of your friends and family--maybe making a significant drive somewhere to be with them for the holidays? Remember what its like watching the snow reports for other parts of the country--and for Europe--showing the closures at airports, people camping out in terminals, and no one getting out for weeks? I always think "yes, that's sad. sucks to have to travel round now anyway." then i go right back to drinking my hot chocolate and thinking of more pressing things. Never did i consider what a mad house some places become in this kind of weather.

Not to say that Britain had a very big storm. We got 3-4 inches, in only a few hours, on Saturday afternoon. But that was it. 3 inches. 3 inches and the country shut down.

Read the report from BBC here.

Will and I have had a lovely week sightseeing in London, spending time with my family in Cambridge, and enjoying the small amounts of snow and Christmasy activities here in England. We were always moving--quite a fast pace--in order to get everything seen before he went back for the holidays at home. It was so much fun, but exhausting--10 days is a very short time to see the whole of London (and of course we did not see everything).

Little did we know, Will's trip was about to be extended. Because of the snowfall at Heathrow on Saturday, Heathrow shut down. It was scheduled to open again on Sunday, and when we left the house that morning Will's flight was still going out. Now on Sat the tube shut down in many places because once the snow melts on the overground portions, the water on the tracks becomes incredibly dangerous. And at Heathrow the snow turned to large chunks of ice--some 30 tons apparently, that needed to be cleared.

That morning the trains stopped working. So we couldn't even take the Heathrow Express or Connect from Paddington. All that was open was the Tube. It's like an hour journey, and snow delays didn't help. Halfway there on the Picadilly line the conductor tells us Heathrow has completely shut. Well, having left my phone charger in Cambridge earlier that week we couldn't even call the airline. So we decide to make it to Heathrow to see what happened and talk to an Air Canada rep.

That was mistake #1.

It was wall to wall traffic in Heathrow. People cramming to get back on the tube (only public transport in and out). Bags rolling over feet, people grumpy as all hell. There are pictures online and they accurately depict what we saw. People camping out with emergency blankets in the terminals. Rubbish everywhere. People confused, on cell phones, limited staff trying to redirect people to websites and phone #s. Everything is in complete chaos. I get a phone # for Air Canada, but no phone to call on. According to everyone around me, sites down and the phone # is jammed. We decide to go back to my place to sort it out. Getting back on the tube was a nightmare--people pushing, almost running over children. They shut the gates on us and we had to wait so the platform couldn't overflow. It was surreal. Squished on the ride home, hours of travel, no sitting down.

Pictures of Heathrow from the Telegraph. This was what it was like.

I have never experienced anything like it before in my life. 200,000 people were supposed to take off from Heathrow that day. Plus the day before, and everyone trying to call in about their flights for the next day. That's about half a million displaced people, because of one airport shut down. Yes, flights were cancelled in Italy, Paris, and Germany as well, which I am sure did not help matters.

All afternoon Will and I camped out in the lounge of my house. We called both the American and British #s for the airline and watched TV, got Indian Takeaway, and ate a lot of chocolate. It took us a good 4 hours, but we finally got through and changed his reservation.

So now Will is here for the week. And, sadly, he has to fly home on Christmas day. Not the best Christmas all around--I know he was hoping to spend it with his family and I don't blame him. We're going to try and make the best of things. Its his birthday tomorrow--Rainforest Cafe and Hummingbird Bakery I think are in the cards.

If anyone has any good ideas for fun things to do in London for Christmas, let me know! And the moral of the story? Don't fly to Heathrow in the winter. Unless you want to feel like you are part of a disaster movie. I now have empathy for all the travelers who get stranded like this in airports at Christmas. Also--I understand why they have to stay at the airport and don't have anywhere else to go. Fortunately for Will there's a nice comfy house to stay in.

xoxo,
Antonia

A Short Review: War Horse

Two nights ago Will and I went out to see the National Theatre Production of War Horse. Presented with the Handspring Puppet Company.No doubt you already know that we both thought it was incredible!

Just to start off, the show was not at the actual NT on South Bank (though it started at the Olivier in 2007), but at a theatre in the West End at the New London Theatre on Drury Lane. One of the most fabulous things, as you can see, is there is not a bad seat in the house....

So, unlike Mousetrap, a 16 pound ticket had a perfect view from the Dress Circle!

The story:
Based on a novel by Michael Morpurgo, it was adapted by Nick Stafford and directed by Marianne Elliott and Tom Morris. Broadly, it tells the story of the plight of cavalry soldiers in WWI and of all the horses who were mistreated and died in battle. It focuses on the story of a young boy, Albert Narracott, and his beloved horse Joey--both on the farm and later as the two both engage in battle. While the book shows the war through Joey's eyes, this story has multiple protagonists to root for: Albert and Joey, of course, but also the other personified horse Topthorn, and the German cavalry officer Friedrich Muller, who is shown as a man just as disillusioned by war as anyone on our side.

The design:
This show is 2 hours and 40 minutes long. If it weren't for the amazing puppets, I would say the show was too long and moved slowly. However, watching the interaction of man and horse onstage was so remarkably real (in that special way that puppets can become real onstage, even with 3 actors manipulating them in plain view) and so engaging, one lost track of time and enjoyed the ride. The scenic and costume design by Rae Smith was genius. The costumes were more naturalistic and very earthy tones (design for the horse puppeteers subtle but brilliant), but the scenery was very smart. The largest element was a projection screen, like a piece of torn paper from a sketchbook, that brought the audience from location to location with sketches, sometimes animated. The scenery was all mobile, Brechtian in nature, as we could see everything behind, and let us move through the multiple locations very fluidly. It was a lesson in economic design--only what was necessary for both actor and audience to orient themselves.
The sound design was really the best I have heard so far in Britain, by Christopher Shutt, and the music by Adrian Sutton was haunting (you can see clips on both the NT website and the Lincoln Center website). Lighting was smart, by Paule Constable, and I'm sure Will could give you a better run down of what they did.
The puppets were designed by Adrian Kohler and Thys Stander of HPC. The production crew of this show was immense--from choreographers, music directors, dialect coaches, to the rotating cast of pupeteer/actors who took on Topthorn and Joey.

The good news: War Horse is going to Broadway! You can buy your tickets on the Lincoln Center Theater website. It begins there on March 15. If all goes well, maybe one day it will tour and come to California. The not so good news: Stephen Spielberg is making a film adaptation of the story. I don't know exactly how it is going to be made, and though the story is very good it won't be this amazing hybrid of actor and puppet--it will be naturalistic. We'll see how that turns out (I'm hoping good--Richard Curtis is on board), but it will be something entirely different from what was seen onstage.

The stage show itself is quite cinematic, and if you have the chance, I highly recommend this show. Today Will and I are off to Cambridge to get a taste of English countryside, and to see my family. Yesterday we went to the Natural History Museum and the V&A, where we saw the exhibition on Diaghiliv and the Ballet Russes. It was, of course, a great history, but also a very well put together Exhibition. Extensive review to come.

xoxo,
Antonia

A Short Review: The Mousetrap and a Guest

Apologies for not updating the blog recently, but things have become very busy around here! It's almost Christmas, and that means Christmas shopping, but also the arrival of the awesome Mr. Poulin for a week's vacation in London!

Now for as much travelling as I have done in my life, I've never been able to go with a friend. I've always been to England, Italy, and France either on my own or with my family. Don't get me wrong--that has been loads of fun, but it's a nice change of pace to have the opportunity to share it with someone else. Plus, I think after all these years, I've become a pretty good London tour guide.

I've taken Will to a lot of my favorite places: Covent Garden, Portobello Road (awesome scarf at Stumper and Felding), Houses of Parliament, Liberty, South Bank, Tower of London, Farmer's Market, Brick Lane...you name it.

Some highlights...

A tour of the Royal Opera House. This place is a-mazing! Not only is it a beautiful old theatre full of history and a permanent Opera and Ballet company, but it is probably the biggest, best, well-oiled Theatre Machine I have ever seen. Permanent staff: 950. Seats in house: 2500. They have their season planned years in advance, down to the hour two years prior. They have full sized spaces to assemble sets for rep and to rehearse. Though the theatre itself remains the same, the facilities were updated from 1997-99--everything from the rehearsal spaces, school for dance, and tremendous work space were added. And they came in...On time. And On budget. Wow. Sign me up please?

War Horse last night. What a show. I will review in my next post.

Dinner at Hugo's with Justin and Fran (Jazz jazz jazz live jazz!) and Jelly Bean Tasting party.


And now, The Mousetrap...

For those of you who are fans of Agatha Christie, The Mousetrap is a show to see, mainly for the novelty. Personally, I have been reading and loving her novels since I was fourteen, and yet every time I came to London my response to seeing the show was "meh." Yes--a show that is the record holder for longest show running in the world sounds pretty cool, but at the same time it always seemed like it might be a little boring because of it.  It took almost ten years for me to see it, but Will and I went last Saturday night.

The Mousetrap has been running in London since Nov 25th, 1952, and at the St. Martin's Theatre since March 25th, 1974. They have never missed a performance, not even when they moved sites or updated the scenery. Because of this, the reputation that has been built on the show is "let's keep it going!" and not necessarily "is it a great piece of theatre?" In fact, at the end of the show, the cast (in a very cute manner) asks the audience to not reveal the ending, so as to preserve the show for many more years. And not spoil the surprise for others.

The show, in some respects, feels more like a museum experience than a show. But its fun, its light (yes, even with murder), and if you like Clue (boardgame or movie), Murder on the Orient Express, or just a good old fashioned Whodunit, it's the show for you. Word to the wise: the theatre is very old, and sitting in the Upper Circle (or Balcony), is not a good idea. We sat there because of the cheap tickets, but the angle is so steep that the sightlines are truly awful. Shell out for front Dress Circle or anywhere in the Stalls.

More reviews to come.

xoxo,
Antonia

A Short Review: A Flea in Her Ear

Well here it is at last, my review of "A Flea in Her Ear," directed by Richard Eyre at the Old Vic.
The show was amazing. I know I've seen that about all the West End shows I've reviewed so far, but this one takes the cake.

The show itself was written by Georges Feydeau, at the turn of the last century. He was a master of bedroom farce, and this show is a great example. I've been a lover of farce since I first saw a production of "Noises Off" by the National Theatre about 8 years ago. Farce is one of those things that, for me at least, is better seen for the first time than read. I won't get into the specifics of the play, but needless to say there are misunderstandings, mistaken identities, and a lot of slamming doors.

Francesca and I were lucky enough to see opening night of the show. Yes, there had been a week of previews, but the show was still fresh and not all of the kinks were worked out. After so many seamless productions, it was nice to see something still a bit "in process." There were a few dropped cues, a pyrotechnic goof, and one minute of almost uncontrolled laughter.

The show starred the talented Tom Hollander in the dual roles of the stuffy upper-class Victor Emmanuel and his doppelganger, the working class Poche. His performance was truly great in its comedic timing, and the massive amount of quick changes dictated by the script were pulled off seamlessly--a big surprise for opening night. The costumes, by Sue Blane, were classy Parisian, and bent on historical accuracy (the play taking place in the Belle Epoque). The thing I loved most was the printing of costume renderings in the program--what a treat!

I was surprised by the turns scenic design took. I was expecting a unit set, as the action for a show like this should really only require one locale. However, the play starts out in a large old Parisian manor home and then suddenly transports the audience (before intermission) to a very new, very ostentatious Art Nouveau hotel (and finally back to the home). The design, by Rob Howell, seemed to jar me out of the narrative. From muted color palette large sash windows to Nouveau statement swirls and curls, next to giant gold statuary and purple carpeting--this show took a leap. It worked well for showing the difference between the two worlds of the play, but at the same time as I sat through Act II, I longed for the "classic" farce feel of the old manor home. One thing I did realize was that when designing for a show with slamming doors, you have to make sure your walls are incredibly stable!

It was also nice going to the theatre with a friend, instead of on my own! On the docket to review next week: Agatha Christie's Mousetrap, National Theatre/Handspring Puppet Theatre's War Horse, and the West End Musical Smash hit Priscilla Queen of the Desert. Onward!

xoxo,
Antonia

East London 2.0...and warding off a cold.

Tissues? Check.
Emergen-C? Check.
Amy's Vegetable Pot Pie, Fresh fruits, Ramen, and Hula Hoops? Check.

Everything I need to stay holed up in bed for the next two days and try and rid of this cold A-S-A-P! I've got the "Elf" soundtrack on Spotify, my portfolio spread out around me, Psych, and an Agatha Christie novel to keep me occupied.

You know, its a wonder this didn't happen earlier--big new city, cold weather, the stress of travel. Its only after I  become aware of the fact that "I can't get sick now!" that it actually happens. Not that its bad. right now, it's exhaustion and an irritated throat. I figure if I'm good and keep it low-key, I'll be rid of it by the time my company arrives this weekend! In fact, we have so much adventuring to do, I will make myself get better.

Living in a big city has its ups and downs. There are days when it hurts walking down the icy street, getting bumped and jostled by prams, pushy salesman, and generally annoying big crowds. There are days when trying to get what you need seems like a huge chore, and the salespeople are grumpy and unhelpful. But there are also days when people are really friendly. There are Londoners who smile and ask you where you're from. There are days when the city is so beautiful, even in the cold, gloomy winter, that it makes you happy to be here.

On Saturday I went to "A Flea in Her Ear," which I promise to review tomorrow. So far, it's the best show I've seen in London (though I have quite a line-up for next week!). Sunday I went back to East London. I have a theory--it takes more than one trip to a location in order to fully appreciate it. My first trip to Brick Lane and Spitafields did not yield much--in fact, I didn't know what all the hype was about. Well, it just so happens the weekends are much more exciting. And it helps when you turn the right direction down Brick Lane, too.

Francesca recommended this great place to get my hair cut called VISION. I have to admit, I am normally the kind of girl who gets the cheap haircut at Great Clips--and only twice a year. But everyone once in a while I need something special. Now, London is expensive, but you can get a cut for 35 pounds at Vision, and let me tell you, it's a steal!

The place is super trendy, set on a side street off Brick Lane with many hip boutiques next door (down the street--sample sales, Vintage Markets, outdoor BBQ, and "it" up-and-coming designer shops). When you arrive, you are greeted by the receptionist, they take your coat, and you are then introduced to your stylist. After talking through your cut with them, they hand you off to their assistant, who does the washing and gives you a relaxing scalp massage. You are offered a cup of tea or coffee while you wait for your stylist to come back. I had this really nice guy named Ashley. Effortless conversation, really knowledgeable, and took his time getting the cut just right, with a full blow-dry/style. It was probably the greatest pampering experience I've Kim and I got mani/pedis in Monterey with free champagne!

After that, I popped into Absolute Vintage--which is a paradise for anyone who loves vintage shoes and bags! Rows upon rows of everything you could ever want. Reasonably priced too! I also checked out Spitafields again, which had more than just the generic stalls with 'one-size-fits-all dresses'--there were local artists and craftspeople. I am definitely going there again this Sunday.

Well, I think it's time for a nap. Hope finals are treating everyone well!
xoxozzzzz,
Antonia