List the last 10 things you saw at the theatre in order:
1. The Thing on the Doorstep: Asenath's Tale (Old Red Lion Theatre)
5. Antony and Cleopatra (National; Olivier)
6. Measure for Measure (Donmar Warehouse)
7. Misty (Trafalgar Studio 1)
10. Queen Margaret (Royal Exchange)
Erin Wilson had more to do but Cathy Conneff was great too so because this is my half-assed blog, I'm going to list them both and no one can stop me!
Why did you go to see number two (It's True, It's True, It's True)?
Good word of mouth from Edinburgh combined with a casual interest in the general bad-assery of Artemisia Gentileschi.
Can you remember a line/lyric from number three (A Very Very Very Dark Matter) that you liked?
Look, if McDonagh's not going to put any effort into writing decent dialogue for a paying audience, then I'm sure as hell not going to put any effort into remembering any of the dialogue for a free blog.
What would you give number four (The Height of the Storm) out of ten?
Oof..... it was very well-performed and way better than some of the other Zeller plays I've seen but I just... wasn't very interested in it. 6.5?
Was there someone hot in number five (Antony and Cleopatra)?
Katy Stephens was in it, so ABSOLUTELY. I'm sure other cast members have their fans, but she's my number one.
What was number six (Measure for Measure) about?
Rape culture and toxic masculinity. Yeah, sure, Measure for Measure is always about rape culture and toxic masculinity, but this production was about rape culture and toxic masculinity TWICE.
Who was your favourite actor in number seven (Misty)?
I can't even begin to tell you just how much I enjoyed Shiloh Coke's contributions to the proceedings.
What was your favourite bit in number eight (Twelfth Night)?
It turns out one of my favourite theatrical tropes is when the most uptight character gets a song with a full company tap routine. Every musical should have one of these. I wouldn't say no to every play having one of these either.
Would you see number nine (Company) again?
I've already booked one return trip and I'll be very surprised if I stop there.
What was the worst thing about number ten (Queen Margaret)?
The concept was so strong that it was a little disappointing when the play itself didn't really live up to that. Maybe the dialogue was a little too prosaic? Maybe there wasn't enough Margaret? It was fine, but damnit, I wanted it to be so much more.
Which was best?
Either Company or Twelfth Night.
Which was worst?
I did not like one single thing about A Very Very Very Dark Matter. Even the plentiful leg-room and the pleasingly brisk running time didn't make up for how thoroughly lazy and unenjoyable it was.
Did any make you cry?
It's True, It's True, It's True.
Did any make you laugh?
Twelfth Night and Company!
Which roles would you like to play in any of them?
Well I've always wanted to play Amy in Company, but now that she's become Jamie, I guess I'll just have to play Bobbie instead. I'm not sure how I'll dig down inside myself to find a commitmentphobic 35 year old single woman with no real personality who won't let having red hair stand in the way of her wearing a red dress, but I'm willing to give it a shot. I've still never played Olivia but I'm leaning rather significantly over towards Feste and Orsino these days.
Which one did you have best seats for?
Technically I had a great seat for A Very Very Very Dark Matter but alas, being able to see the play perfectly with zero obstruction while also being in a spot where it would have been impossible to inconspicuously sneak out early was NOT a bonus for this one. So Twelfth Night, where my £10 got me right next to the stage, which I thought they'd stopped doing at the Young Vic so it was a lovely surprise.