Monday, 30 November 2015

Gap Year Reading - Part 1

I feel a little foolish taking a gap year, but then I know how to justify myself to myself. In my A2 year of college I was in the region of 70% sure that I wanted to go to university and excel in my field (English or Drama), about 20% sure I wanted to go to drama school and train as an actor, with 10% not sure if any of it was right at all. I could have applied in my A2 year, my mum says I should've. I can't change the past, however I can now know that what I want to do is go to university and pursue my loves: English and Drama, together as a joint degree. I was mostly sure when I should've been applying, but that 30% was enough of a risk for 3 years of my life and a debt which in all probability I could never repay.

In a way, this gap year is two-fold useful to me: for one, the way I did things means I had time to not make the wrong decision, and for the other, I wouldn't risk having done the right thing and always having wondered if I shouldn't have done something else. Taking time out to make decisions can be an important decision in itself, and if that means taking a whole year out, then so be it. Then again, a whole year is no trifling matter - in fact, it's a 19th of my entire life so far, and that slice of life being on the 'now' end of what I'm living makes it quite ominous, but I'll be damned if that means I'm going to waste a year. I am now set on my course, and this gap year I'm going to make all about giving myself a greg grounding for my study of English and Drama.
I said in my essay 'Reading and the Riptide' that reading books is like a Fibonacci spiral, each one connecting to many more, and each of those to many more again, exponentially expanding one's consciousness and understanding. I still stand by that assertion and by that logic I thought the best possible place to start my gap year preparation would be the local library. My plan is to get a hugely wide base of understanding to build up from, starting my experience horizontally as it were before building up vertically to more specific knowledge.

Tuesday, 13 October 2015

'Orpheus' - Play review

Little Bulb's 'Orpheus' is continuing its tour at the Liverpool Everyman from 20-24th and Birmingham Repertory Theatre from the 28-31th of October. If you can catch it there then I highly recommend you do and you can find links to tickets on the Little Bulb website here.

Little Bulb Theatre's production of 'Orpheus' is a reimagining of the Greek myth of Orpheus and Persephone in the style of the European cabaret of the 20s and set to an eclectic soundtrack of club jazz, mock-opera and the music of Django Reinhart. If that sounds like a mad mix that's because it absolutely is, and it's a bloody spectacle to behold.
From Little Bulb Theatre's website
The production is a co-production between Little Bulb and the Battersea Arts Centre and following the tragedy in March it's wonderful to see work of such colour and optimism still emerging from there. Every moment of the play burns with such vivacity which keeps the mostly wordless plot and the cabaret-inspired frame narrative so enthralling that as an audience you barely notice any time pass. It was a tenet of Nietzsche that Greek tragedy should be a living consolation in its ability remove the audience entirely from reality, and that is entirely the world created here. The story itself has practically no words besides Persephone's song and the narration of the host - and Eugenie Pastor's Yvette Pépin is so emphatic and passionate that one can't help but be totally involved in the tragedy, as she herself is so hyperbolically affected by the story she is telling one can't help being dragged into that world of heightened emotions and tragic fates.

Tuesday, 12 May 2015

'Avengers: Age of Ultron' - Film review

Well here we are, a year and 10 months later - my 100th published post on Under a Blue Pen! Yesterday I published my 50th review of a Shakespeare film, which is also quite a big number, but for my 100th I thought I'd do something special, something that really gets me enthused and excited: a superhero movie. And what better review to mark this momentous milestone than with the MCU's recent blockbuster spectacular, 'Avengers: Age of Ultron'.
This is a big picture. If you open it in a new tab, it's even bigger (and HD).
According to Cineworld, in the UK alone 18,400 people looked at cinema booking for 'Avengers: Age of Ultron' in last 24 hours alone. After the monumental success of the Marvel Cinematic Universe so far, the extraordinary first ensemble Marvel film, 'Avengers: Assemble' and the unexpectedly spectacular epic which was 'Captain America: The Winter Soldier', Joss Whedon's latest entry to the MCU and to the Avengers saga manages to continue the legacy, deftly channel the meteoric energy blasting through from the rest of the series which began so long ago and not fail at throwing all of the right punches.

Wednesday, 15 April 2015

'Radiant Vermin' - Play review

Wow, my 13th play review. This blog's really going somewhere now. Did you know it's been 40 days since the last day with no viewers? Even when nothing gets posted, astounding. Many apologies for the something of a hiatus that's occurred since my last blog post. In the past six days I've made over 300 revision cards for biology - hard work, y'dig. Last Thursday, almost a week ago, was a nice break from all that, a trip up to London with a friend to see Phillip Ridley's new play at the Soho Theatre in London. Now I'm not one for laughing at theatre - I can appreciate things are funny and be amused by them, but I'm much less inclined to actually vocalise it - not one for crying at theatre either. Not that 'Radiant Vermin', a play about a horrendously ethically-challenged couple who realise that killing homeless people magically furnishes their new dream home however they wish it, made me cry at any time, but dear lord did I laugh.
Hm, it matches the colour scheme of my blog quite well.
One of the main reasons I'm fixated on going to drama school in London specifically is the vividness of the theatre scene in London, and the three London theatre trips I've been on in the last three weeks (this, and school trips to see Ivo van Hove's 'Antigone' at the Barbican and 'A View from the Bridge' at the Wyndham's) have really helped to cement that impression. The Soho Theatre is just such a great venue, for quite the opposite grounds that the Barbican and Wyndham's theatres are - it's such a modern venue that it has no pretences about being anything other than a theatre.

Saturday, 4 April 2015

Reading and the Riptide

Spring is here! A-spu-ring is here! Life is textbooks and life is highlighters… okay that doesn't quite scan actually. I think the loveliest time of the year is the spring - I do - don't you? 'Course you do. Tom Lehrer references aside, spring is lovely, and spring is most definitely here, as I can finally sleep with the window open, after so long of being unable to over the long and vicious winter we've had. As the Easter 2-week holiday finally arrives, it's time to revel in the new pleasantness replacing the horribleness, time to take something of a breather from the tumultuously busy last few weeks of the 'spring' term and put one's feet up in the only way A-level students know how to:
Yay.
Ruminating briefly on George Orwell's essay 'Thoughts on the Common Toad', which argues that the innate joy of witnessing nature reincarnate itself at this time of year can be enjoyed despite human goings-on, it seems this new seasonal refreshing burst of life has some joy to offer, even with the triple-threat of looming A-level exams, the looming decision of which HE path I want to take, and the looming possibility that in a month's time the votes will swing in UKIP's favour and the whole country will be bolloxed up and I'll likely have to leave the country. Not because I'm of foreign birth and would be deported, mind, it'd just be too awful to stay here.

Now there is this well-earned break, during this period of reincarnation and rejuvenation, it's possible to reflect on what has been and what is to come.

Friday, 3 April 2015

'A View from the Bridge' (Ivo van Hove) - Play review

Sorry the writing of this review is somewhat delayed, I was in my college's 48-hour film competition so didn't have the time until today - luckily with some jigery-pokery of my blog's schedule I could queue in a few reviews I've already written to give myself enough time. Phew. It's been a busy week, after an equally busy week which was last week, when I saw Ivo van Hove's 'Antigone' on Tuesday, and a few weeks ago I saw another version of 'A View from the Bridge' at the Cheltenham Everyman Theatre. I recommend reading at least the latter-mentioned review for comparison. But without any further ado…
A grainy image looking down on the Wyndham's Theatre from the Grand Circle.
I've never actually heard of the Wyndham's Theatre before, which is probably a bad thing for an admiring actor. I've seen it referenced in The Stage before, but couldn't relate the place to the name - anyway, it's a lovely building. Hugely ornate the point of decadence - but in a building of culture, why not have decadence? As with a lot of London theatres the raking of the seats is exceptionally steep to get as many patrons as possible into the space allowed, so, a word to the wise, don't choose a seat in the Grand Circle (or God forbid the Upper Circle or Balcony) if you have vertigo, as the drop is sickening. Well, do, just don't look down, as the perspective on the stage from up there is, while slightly alienating due to distance, certainly remarkable, and the emotion transmits across the space just as well in this production in any case.

Wednesday, 1 April 2015

'Antigone' - Play review

I studied 'Antigone' last year for my Drama and Theatre Studies AS. Studying something in a vacuum makes it disgusting. There were no productions of 'Antigone' on while we were studying it, or it least no trips organised, so I was disgusted by 'Antigone'. Shortly after my exam there was a production of it on at the Theatre Royal, Winchester, but again, I was too disgusted, I couldn't go. I didn't fail my exam or anything, I got an A, it's just that the play became a piece of educational material and no longer a work of literature. So when a trip was organised for a group of ASs to go and see Ivan van Hove's 'Antigone' at the Barbican I immediately signed up - I'm going to see 'A View from the Bridge' on Tuesday* so I'd like to see what the director's style is and how his works compare. Oh my, I wrote 8 pages of notes.
I couldn't get a picture of the set. Here is a ticket.
The first thing to discuss would have to be the venue. In December I went to the Barbican with a friend to watch the RSC's 'Henry IV Part One', and decided that getting a seat in the front row of the circle would be better than a back row in the stalls for the same price. The view was good from up there looking down on the action, and being at the front, however having that cavernous space (for the Barbican theatre is cavernous in size) in front of you when watching a play is somewhat isolating, you feel very much separate from the action, no matter how good it is. The stalls however are an entirely different story. Even row P, where we were sat, felt intimate to the stage. It's a sensation almost unique to the Barbican: the stalls sweep around in such a way that you feel almost deindividuated in the vast space, part of one body which is the audience as opposed to one that is yourself, it's a truly magical theatre, the effects created by the architecture are fabulous. Entering at ground level and descending two flights of stairs to the stalls, then looking up to the circle, upper circle and gallery above you, you feel very much the scale of the theatre space, like a theatrical ant's nest, or underground beehive, again, magical. I've been reading a lot of Nietzche's tragic theory recently and the Barbican seems the perfect place to stage a tragedy, as you are immediately swept up into another world, that being the world of the story.

Sunday, 29 March 2015

'A View from the Bridge' (Everyman Theatre) - Play review

The Everyman is specified in the title of this as I'm going to see another 'A View from the Bridge' in a few weeks at the Young Vic, the one starring Mark Strong as Eddie and directed by Ivo van Hove, who also directed the version of 'Antigone' which I watched at the Barbican last night. It's been slightly over a week since I saw this 'A View from the Bridge' at the Everyman Theatre as I had a very busy week this week - I might even write a blog post to relate it as a lot went down, as it were. Luckily for myself, as I have 4 reviews to write today/this weekend, I only wrote 4 pages of notes during the performance, so this review shouldn't take so long (oh gosh writing up 'Antigone's going to be a slog). But without further ado - a review of 'A View from the Bridge' at the Everyman Theatre, Cheltenham.
A lovely view of the bridge.
The party I went with were all A-level drama students, studying the play as the A2 paper involves writing a section of the play as if you're directing it. The trip was optional - as mentioned previously we're also going to see Ivo van Hove's production next Tuesday - it was just for the most enthusiastic students to get a more well-rounded view of possible interpretations of the play. That being said, reception of the play was quite varied within the group. I was personally in the camp who had been pleased by it, there was also a camp whose opinion could be described with the sound 'meh', and a camp whose opinion approached middling disdain.

Friday, 20 March 2015

'Consolation' (for S. Davies)

Though the two of us are separate
And c'mitments keep us far away,
Filial love is intimate
On any sharéd day.

Though th'working week may inspire rage
And Solent waters do the same,
Distance is but a temp'ry cage
And time a temp'ry shame.

This time for you is hard I know,
And myriad choices plague your thoughts,
Let it be known that I and Joe
Wish to make your terrors nought,

So, please remember that you needn't be afeared -
You have my little brother Joe to keep your family near.

Saturday, 14 March 2015

Tom Hiddleston at the Nuffield

[Important note: my memory is not perfect and I cannot write in shorthand, only note-form. Speech in 'inverted commas' is not a direct quote but a loose quote formed by filling in prepositions, etc, skipped out in note form and may not be exactly what was said. Imagine Capote's 'In Cold Blood', basically.]

This post is long overdue, I'm sorry guys, but what can I say, I'm a busy person. The real rush to finish this comes as I'm going to another Q&A with author A. L. Kennedy on Monday 16th (of March) and will most definitely want to write about that as well, and I don't want to confuse anyone with the order of things. So the particular evening I'm talking about was a couple of weeks ago, the 22nd of February to be exact, and I apologise for the lateness, but I made 6 pages of notes so don't expect any less than if it had been yesterday.
I'm very proud of the Nuffield Theatre as it's the first theatre that I felt a real part of, and intend to work there in the future, and intend to return to as a professional actor to perform on that stage. The Nuffield is undeniably going places, and I'm fortunate that it took me into its heart - especially since I'm from the Isle of Wight, a different county. The Q&A comes just a few weeks after the news that the Nuffield won 'The Stage's regional theatre of the year 2014; it felt special to be in a celebrating theatre with a pair of very successful men talking about their industry.

Monday, 16 February 2015

Utopia - Season 1 - Review

A long-term reader of this blog will notice that TV shows generally get a short review per episode. Why then, you ask, does 'Utopia', the Channel 4 series from 2013, only get one review for the entire first series? The answer, is because I was so enthralled by this show that I watched the entire ~6 hour spectacle in one sitting.
Bright and bold, the title card reflects the punchy vibe of the show.
It's a show that I was aware of but had never had any compulsion to watch. This was probably because I'd only seen billboards for it, in which it looked interesting (I suspect if I'd seen a trailer for it I definitely would have stuck around to watch it, it's that striking) but not interesting enough to make me watch TV. I'm a college student, of course I don't watch TV. The concept of it did of course look interesting… whatever it was, so when I logged on to Netflix for the first time in several months and it was the top of my suggested watch-list I thought, why not, and that is basically the story of how I lost an entire day.

Saturday, 7 February 2015

Medical Examination

I pulled down the stiff, wrought-iron door handle and dragged open the heavy, gloss-black-painted front door to West Street surgery. The building itself was a two story Victorian town house that had been converted into a general practitioners’ practice in the 60s. The door was four inches thick and had a strong hinge that required a hefty tug and left one slightly unbalanced after wrenching it open. I had an awkward altercation with someone trying to come out of the building as I was going in – I let them past, they let me past, I hesitated a little longer than them so they pushed past and gave me a little appreciative nod. A pointless gesture that wasted ten seconds of both of our lives.
Beyond the door, the reception desk was immediately off to the left and the waiting room was to the right up a flight of three stairs. Between these two destinations, in the opposite wall, was a door marked ‘private’, which presumably led around the corner to reception, next to which set into the wall was a small black plastic box similar to a letterbox, marked ‘repeat prescriptions’. I took a left.
The reception was a rectangular hole in the wall, three foot high by five foot wide, at hip height, so that I had to stoop slightly to look in. The bottom edge formed a desk with a computer, behind which was sat a lady in her fifties.
“Hi, I’ve got an appointment at four thirty”
The lady tapped at the computer keyboard for a few seconds.
“Name?” she requested, flatly.
“Jackson, um, John”
To the left of the desk was a corridor, running parallel to the front door, with two practice rooms, one of which I knew from past experience was where they administered holiday vaccines for tropical diseases. I flicked my eyes down the corridor to avoid the impression that I was staring at the reception lady, then looked back when she addressed me again.
“Yes, Doctor Fleischer’s a little behind today, take a seat.”
“Thank you.”
I turned as smoothly as I could and walked up the three steps into the waiting room. Five of the seats were occupied: a young, grizzly couple hissing back and forth at each other under their breaths; an elderly man who looked to be in impeccable health with a walking stick; a mother and her young child, who had rashes on his wrists. The waiting room had chairs lining the two opposite walls and half of the wall that had the door to the bathroom. I found a chair as removed as possible from everyone else to sit down – two chairs to the right of the mother, almost opposite the elderly man, with the couple in the farthest corner from me. This gave me a good view of the three steps leading back down to reception, from whence I had just come, and the three more steps leading further up into the rest of the building, where the majority of the practice rooms were.
Doctor Fleischer ended up being about forty minutes late, meaning I had to sit a while. During that time the couple were escorted down the stairs to one of the practice rooms by reception and the elderly man was called up the stairs. A couple more people came in to sit in the waiting room – a fat man who was entirely bald and sat down with a huff, and another elderly man – but I paid them little attention as I was sat waiting.
I also developed a headache that lasted about ten minutes and went away again.
“Mister Jackson?” a voice called from up the stairs, before a male head peeked around the corner to scan the waiting room for me.