Review – Travelling Light, National Theatre

“Who knew the invention of cinematic grammar could be this dull?” pondered Andrew at the interval of Travelling Light. Indeed, one could almost leave things there and move on. But of course that wouldn’t be very Whingerish would it?

With a big canvas and a big subject the usually very reliable Nicholas Wright sensibly focuses on one aspect of the big screen by telling the tale through the eyes of one of the many Eastern European Jewish émigrés who played such a huge part in the development of motion pictures.

Review – The Lion in Winter, Theatre Royal Haymarket

Well, of course our New Year resolution  to never again visit the theatre bogged down with preconceptions or expectations didn’t last long. Less than 24 hours in fact.

Resolving not to go to things with expectations was a bit daft really. Critics claim to approach things with open minds but it’s easier to do that when the reviews aren’t out which is why we often try and see previews. But for most audiences it’s different; what punter could possibly go to Jerusalem or One Man, Two Guvnors or Matilda without wondering if it will live up to its promises?

On New Year’s day the resolution went straight out of the window with a visit to the pictures to see the highly praised The Artist.  Fortunately we were not at all disappointed and yes the dog(s) really is (are) as good as you’ve heard. Strangely the film begins in 1927, which is also the name of the theatre company behind The Animals and Children Took to the Streets which led to us striking such a daffy resolve.

Still, one resolution remains: Andrew has promised himself a dry January yet again, which will make life very dull for Phil who has no truck with such matters. So in our traditional January-catch-up-of-things-we’ve-missed we took in The Lion in Winter in a state of complete sobriety. And having already broken our resolve we were able to approach it with some assumptions, not because of the critics you understand (whose reviews, if we’re being polite, were mixed) but because it had come highly recommended by people whose opinions we trust.

Review – The Animals and Children Took to the Streets, National Theatre

New Year resolutions are meant to be broken aren’t they?

The Whingers emerged from The Animals and Children Took to the Streets resolving never go to the theatre with preconceptions or expectations again. Mmm, how long do you think that’s going to last?

To say we weren’t expecting much is a mild understatement. But then Phil had no expectations anyway. He ran into someone he knew on the way to the theatre who asked what he was going to see. “No idea” he replied breezily.

Perhaps that’s the way to approach theatre so it can’t hurt you. But on paper 1927 theatre company‘s TAaCTttS doesn’t sound that enticing. A show in the Cottesloe auditorium set in an urban dystopia which with remarkable prescience anticipated the summer riots in this country (it was first performed at the Sydney Opera House in October 2010)?

The 2011 Whingie Awards – the very worst and the not so bad

Yes, the Whingers’ much coveted trophies are lined up to be divvied out again.

Artistic excellence? Possibly. Realistically most of of our glittering awards would go north of the border after our uncharacteristically enthusiastic response to the Edinburgh Fringe Festival, an unusual period where we packed in so much entertainment we feared we were turning into Mark Shenton.

But after momentary deliberation and decidedly tepid debate we have eventually settled on some worthy winners.

Review – The Importance of Being Earnest – A New Musical, Riverside Studios

Yes, it sounds so wrong in oh so many ways doesn’t it?

The Importance of Being Earnest as a musical? But then again (and we know we really should have tried harder) the Whingers’ curiosity wasn’t even piqued enough by Ann Widdecombe’s panto debut to drag them to Dartford this season. But Gyles Brandreth giving his Lady Bracknell? This proved a USP big enough to brave the trek to Hammersmith’s Riverside Studios.

Dragged-up Lady Bs are of course nothing new. Brian Bedford has recently delivered one on Broadway, Geoffrey Rush is giving his down under. Heavens, Phil saw the brilliant Hinge and Bracket as Miss Prism and Lady B respectively at the then Whitehall Theatre. Mind you, it was execrable.

And this could so easily have turned out to go the same way but remarkably it is in fact really rather good.

Review – Fascinating Aïda: Cheap Flights, Charing Cross Theatre

Really very little we can to add to the unqualified rave we gave to the version of Fascinating Aïda‘s Cheap Flights which we caught in Edinburgh and is now boarding for a brief season at the Charing Cross Theatre.

We may not be able to add much but the satirical singing cabaret trio have. Current line-up Dillie Keane, Adèle Anderson and relative newbie Sarah-Louise Young have worked up an extended version of that show which now comes with extra tunes, an interval but no excess baggage.

Review – Haunted Child, Royal Court

The Royal Court have missed a trick with their marketing for Joe Penhall‘s Haunted Child. Given the tepid reviews the marquee outside should simply scream “See Ben Daniels drink a whole bucket of salt water live on stage!”

Well that’s what he appears to do. You see him fill the bucket from the sink, pour “salt” into it, drink the lot, then rush (disappointingly) off stage to vomit leaving only his bare feet visible as he retches. Yes, there are rather a lot of unclad feet on display here too.

But you have to feel for Ben Daniels (and it’s the only moment you do) having to perform the stunt. It’s a big ask of any performer. Calling it beyond the “pail” would only provide another disappointing gag.

Review – Dame Edna in Dick Whittington, New Wimbledon Theatre

The Whingers were faced with a tough decision this Christmas. Phil’s sister thought that given this blog’s occasional reference to the imaginary Dilton Marsh Players the least the Whingers could do was drop by Wiltshire to take in their seasonal offering.

For although originally believed to exist only in the Whingers’ imagination it turns out they are as real as you and us although actually called the Dilton Players. This dedicated troupe of dedicated players numbers more than 40 and they DO present an annual panto*. Apologies due.

Review – The Ladykillers, Gielgud Theatre

Best to sidestep this intro if you find it too distressing to discover (or have no interest in and why would you?) what goes on in a Whinger’s mystifying unconscious.

People who insist on relating their dreams are about as enthralling as those who share their travel nightmares. But occasionally a Whinger will seek to inflict a condensed version of a previous night’s fancies on the other in the interests of seeking insight, analysis or at least a dribble of interest.

The last one Phil bestowed on Andrew went thus: “I was re-recording my album in a hotel room and Sir Bob Geldof asked if he could come and watch. I couldn’t sing, I couldn’t remember the words and the reel-to-reel tape recorder got tangled up and was spewing out tape all over the room. Bob was very nice about it.” Mmmm.

An article in the programme for The Ladykillers reveals the QI origins of the classic 1955 Ealing comedy. William Rose came up with the idea “five criminals were living in a little house with a charming little old lady” in a dream, woke up, told the entire plot and concept to his wife and promptly fell back to sleep. His wife was so struck by the idea that she stayed awake all night and asked him if he could remember it in the morning. He remembered nothing but went on to write the original screenplay from her retelling. How easily The Ladykillers might never have existed.

The next time Andrew nods off in a theatre Phil intends to interrogate him post-slumber to see if he has come up with such a brilliant conceit. What are the chances? 

The Ladykillers now comes to the Gielgud Theatre with what can only be described by us as a dream cast in a version by Father Ted and The IT Crowd writer Graham Lineham. Expectations were absurdly high.

Review – Juno and the Paycock, National Theatre

Proof, if it indeed needed, that a little learning can be a dangerous thing – especially in the hands of the Whingers.

Or to be more specific in the hands of Phil who “studied” Juno and the Paycock at school. Naturally this was when Sean O’ Casey‘s play was practically a contemporary work so he can recall very little of it. He remembers his copy of the play came in a green cover with a strange texture which made a very agreeable sound as you ran your fingernails over it. How comforting to hear of an education that didn’t go to waste.

And nothing would stop Phil happily entertaining Andrew with his one almost correctly remembered quote “That’s the last time you’ll blow the froth off a pint of mine Joxer Daly” as they arrived at the National Theatre. How apt it should be a line involving alcohol.

Review – Pippin, Menier Chocolate Factory

Review – The Comedy of Errors, National Theatre

WILLIAM SHAKESPEARE WROTE A DECENT JOKE – WHINGERS IN SHOCK.

The Whingers make no secret of the fact that they usually find the the comedy in his plays and the wordplay in his comedies deeply unfunny. Yes, they sometimes laugh thanks to an actor’s delivery or a bit of business injected by a director aware that the text will not supply sufficient giggles for a modern audience. But at The Comedy of Errors they actually laughed at a line written by the Bard himself.

Just the once, you understand, but it’s a start. For the record it was in one of the Dromio’s “I could find out countries in her” speech referencing Belgium and the Netherlands. Shakespeare of course invented everything. Was he the first to discover the intrinsic comic value in Belgium too?

Review – Matilda, Cambridge Theatre

Well you don’t have to be Mystic Meg (whatever happened to her?*) to predict the Olivier Award winners at next year’s ceremony.

We’ve dusted off our crystal balls and see the Best Performance in a Supporting Role in a Musical Award forcing either Nigel Harman (Shrek) or Sharon D Clarke (Ghost) to clear a space on the mantlepiece for the trophy.

Now we’re adjusting our bespoke turbans to say the Best Actor in a Musical award is in the bag: one Bertie Carvel for his Miss Trunchbull. Likewise the Best Musical Award, which should go the way of The Evening Standard Awards earlier this week. And who knows, the final musical category could well be filled by the young gals who take the titular role in Matilda The Musical.

Review – Reasons To Be Pretty, Almeida Theatre

Neil LaBute is never far from controversy but the Whingers have less issue with his subject matter than his titles. Andrew got himself in a right old tizzy about a missing comma In a Dark Dark House (also at the Almeida Theatre) and earlier this year he was quite punctilious about the punctuation again when that AWOL comma turned up quite superfluously in In a Forest, Dark and Deep before being being told to stand on the stupid step as it was a quote from Walt Whitman.

It was Phil’s turn this time. Shouldn’t Reasons To Be Pretty be Reasons to be Pretty, arguing that Ian Drury’s song “Reasons to be Cheerful” opts for lower case on the copula verb? When the play first appeared in New York in 2008 LaBute seemed To Be taking no chances, dropping the upper case completely by opting for reasons to be pretty. Gosh, everyone seems confused. Some think it’s Reasons to Be Pretty.

But are we arguing about physical appearance rather than content? This is what Lord Harold Fritz-Liberty (Mr LaBute’s Royal Wedding name) is tackling again in the third of his trilogy of plays on the subject. Phil had previously enjoyed the twisted The Shape of Things (also Almeida when it decamped to King’s Cross) and both Whingers were very taken by his Fat Pig.

Review – Jumpy, Royal Court

Hard to believe, but even the Whingers were young once.

Then we took our eyes off the road and somehow time sneaked up from behind, overtaking recklessly, driving off the highway of life and leaving us temporarily stranded in the lay-by of middle age. Happily we are fully equipped with spare tyres to enable our journeys to continue.

Hilary (Tamsin Greig) is having a mid-life crisis. She’s 50 and suffering panic attacks; presumably the Jumpy of the title (another titular reference is revealed at the end). Her job’s in danger and her marriage to a relentlessly dull husband Mark (Ewan Stewart) has become little more than friendship, the aridness of her partnership only hydrated by frequent glasses of wine. Could this be the reason for the Whingers’ drinking too?