The Pilgrimage: Testing Allegiances and Apathies

old habits hardly dying; screams and loathing
the filth and fury of the undiscovered country

 Newcastle upon Tyne

i. don't grab a map at the train station. use train tracks to orientate North and South.

ii. you might not find your hostel, but you may find the Roman castle the town is named after.

iii. you still might want to check into your hostel and drop off your bag, then double back to said castle. unless you like humping your rucksack up all 99 medieval winding steps.

iii. note that the supposed "best view of Newcastle" excludes the castle you're standing on.

iv. most museums/galleries/shops will close at 17:00 hours, inconvenient when you're train arrives for your one night in town at 15:00.

v. Newcastle Brown Ale is surprisingly hard to find in any off-licence store or pub. possibly because it's now brewed by Heineken in Tadcaster, North Yorkshire.

vi. off-licence shops stop the sale of alcohol at 18:00 sharp. worth considering if you planned on enjoying a Newcastle by the Tyne in Newcastle upon Tyne.

vii. also at 18:00 sharp, local Rugby matches will be completed and main streets and eateries packed with loud/inebriated fans.

viii. there is still a quiet corner in the Lady Grey's pub on Shakespeare St. they don't serve Newcastle either, but you can still cuddle up with a copy of Cymbeline until closing.

ix. the Laing Art Gallery is closed on Mondays, and closes at 17:00 every other day. you can learn this information through one visit to the closed Gallery. or two if you like.

x. when the best laid schemes of man go awry, count yourself a mouse that at least scampered up a Roman castle and be contented.

Edinburgh

i. refuse to learn a lesson and again don't take a map. this time just ask to be pointed in the general direction of the street of your hostel and end up on the tourist filled Royal Mile.

ii. after finally finding your hostel, orientate yourself and head out again. public museums/galleries closing at 17:00 is a rather universal trend.

iii. the national gallery is smaller than some galleries in London. though quality does not equal quantity, therefore cramming everything into a single hour may lead to a visit the next day.

iv. the city of Edinburgh is not as flat as London. to be considered when walking back and forth across the city with or without your rucksack.

v. sometimes there is a pub or nightclub, but sometimes there is writing papers in the hostel kitchen till late in the evening.

vi. the Edinburgh castle can probably be toured in about an hour. however, reserve three hours to visit every single point of interest, including all three extensive military museums.

vii. sometimes the man serving food at the shop selling falafel, pizza, and burgers really, really wants you to have a beverage with your meal; offering a meal deal, student discount, and then just throwing the soda in for free.

viii. Calton Hill offers great views of the city and landscape. though sadly, tourists and locals alike apparently have no concept of recycling or binning rubbish.

ix. surprisingly, a twenty person room at a hostel is not as miserable as you might think. everyone mostly just keeps to themselves, or more accurately their iPhones.

x. bagpipes are just everywhere in Edinburgh. there is no escape except from the novelty of bagpipes.

Inverness

i. sometimes the platform for your train is not listed until ten minutes before departure. asking directions can hurt pride much less than missing your train.

ii. when taking that final nostalgic look at a city, realize you might end up back in that city at that same spot tomorrow on a train layover.

iii. upon arrival: again, don't grab a map, the hostels only three blocks away and you've got a routine going by this point.

iv. this city is a charity shop haven. more than ten shops in a several block radius, all cheaper than those populating London.

v. after the charity shops supporting heart conditions, third world countries, children etc don't have what you're looking for, don't feel bad for purchasing what you want/need from a charity shop that supports pets.

vi. the Inverness Castle operates as a court house, so no, there's not a tour offered. if there was, it would have been closed by 17:00 anyway.

vii. as a public building, you can walk right up to Inverness Castle at 20:00 for a great view of the castle and the river ness.

viii. the downtown bridge over the river ness features phasing LED lights, in addition the city makes great use of various colored lights and christmas lights in alleys and trees, all making a nighttime strolls very atmospheric.

ix. when discarding battered leather armor, leave on a public post rather than a rubbish bin. when the armor is gone by early morning, be satisfied with the general mystery.

x. if you don't have time to visit the loch of ness, you can then avoid stupid questions about the monster when you mention your trip.

Abergavenny 

i. when the train from the Scottish highlands to rural Wales is 10 hours, checking out of the hostel at 6:30 before the desk even opens is probably the best plan.

ii. you can bring chocolate and food onto the train. the food service cart will travel by every twenty minutes and better ignored with preemptive food stocks.

iii. the food trolley also serves alcohol, but you may also bring pints onto the train. a pint helps enjoy the rural views when the train does not feature power ports and your compute dies while working on that paper you really need to write.

iv. well this time the hostel is literally across the street from the station. also Abergavenny is a small market town, so you shouldn't need a map besides, even if you could somehow find one.

v. when you attempt a leisurely evening stroll into the countryside, you may notice that it gets dark around 19:00, and by 20:00 too dark to stumble around the woods.

vi. though still light enough to stumble step in cow manure. feels like home.

vii. when your hostel is a low maintenance bunk room above a pub, there may not be anyone to check out with, since the front desk is the bar, and the bar doesn't open till noon. you then carry your rucksack around for the day's excursion.

viii. sometimes that free castle museum is the remnants of an old castle, torn down in the 1800's for the construction of a modern castle looking hunting lodge. also, something blunter than a ball-point pen is required to fully blot out a swastika drawn on that picnic table.

ix. when you wander into an old victorian market and end up getting a science lesson from a friendly geologist (newly working for British Rail), you should probably buy something. when it comes to rocks, there's probably something in your price range.

x. the town's namesake river Gavenny is quaint and peaceful. though the river Usk is more impressive and features charming little fishers nooks.

Swansea

i. since not getting a map is down to a real art by this point, don't change your medium. also, just have family friends pick you up at the station.

ii. after being served Welsh soup (or cawl) with a side of bread and cheddar cheese, Wales is basically the Wisconsin of the United Kingdom, with the weather of Seattle and more sheep.

iii. after five nights in hostels of various condition, you greatly appreciate the comfort and value of a guest room to yourself.

iv. sometimes you leave in the morning to rolling fog and scattered rains, and by the afternoon the skies have cleared to sunshine. dress accordingly, whatever that means.

v. Hay-on-Wye is apparently the bookstore capital of the United Kingdom, with a plethora of bookshops of various theme packed into the tiny town.

vi. despite all of Hay's packed bookstores, finding Welsh author Dylan Thomas' Under Milk Wood is near impossible, other than the first edition copy in the window marked at 190 quid.

vii. when driving from Hay to Swansea through the Brecon Beacons National Park, the hills are more visible in the afternoon sunshine compared to the morning fog.

viii. after hiking around five cities/towns, a quiet night with good company is sometimes all you really want and need*. a funny movie and hot meal never hurts either.

ix. when you have the first map of your week's misadventure, you may still get dreadfully lost and at no fault of the hand drawn map to the bus stop. don't turn wrong when the map says right.

x. that tiny station is sometimes closed on Sundays. but that "Out of Service" bus may change to the bus heading downtown when it sees you at the bus-stop in the rain. and you get to see what's left of Swansea castle before catching the train to Padington Station.

*Special thanks to Carolina and Richard Harries for the hospitality and friendship. 

new leaves turning hard;
  entrances and entries

National Gallery of Scotland

While you can technically view the entire gallery in the course of one hour, this exquisite and manageable collection offers works worthy of deep examination without overwhelming the viewer through sheer volume. Firstly, walking down The Mound to the Gallery, in full view of the Victorian Gothic monument to Sir Walter Scott and under the shadow of Edinburgh Castle, is a wonderful experience in of itself. Upon entering the Gallery, I must comment that I greatly appreciate the use of color on the walls to backdrop the masterpieces –as opposed to the uninspired white found in most museums and galleries. The colors improved the general aesthetic of the space and did not distract the eye from (or conflict with) the works of art. The collection's first floor features many fantastic works, mostly depicting scenes of Christianity by French and Dutch painters.

However ironic in symbolism, the collection of works by Scottish painters is held in the building's basement. Within this section of the gallery, many great works can be found: my favorite painting of the day was indefinitely a work by artist Sir Joseph Noel Paton titled The Quarrel of Oberon and Titania. In Paton's painting depicting a view of Shakespeare's A Midsummer Night's Dream, writer Lewis Carroll has apparently counted a total of 165 faeries within the detailed scene. The gallery's upstairs houses the more modernist works, including impressionist works from Van Gogh, Degas, and Monet (of course there is a Haystack painting). A sculpture by Albert Gilbert titled Comedy and Tragedy was reminiscent to me of Alfred Stephen's works like Valor and Cowardice (a smaller model also on display), though containing the duality into a single model. The visit would have been worth the journey having viewed Paton's painting and Gilbert's small sculpture, but as I arrived an hour before closing, I will return to the collection at opening time tomorrow. A collection not overwhelming, though anything but underwhelming.

Edinburgh Castle

Edinburgh Castle looms over the surrounding area from it's perch on the acropolis overlooking the city. While a renovated medieval fortress, the castle currently serves as one of the central tourist hot-spots within the city, with the Royal Mile leading from Hollyrood Palace to Edinburgh Castle. The castle continually symbolizes Scottish military strength, showcased by the thick battlements and the three (count 'em: three) military museums within the castle. The "Museum of the Royal Scots & the Royal Regiment", the "Scots Dragoon Guards Regimental Museum", and the "National War Museum" combine to provide a rather extensive history of Scotland's modern military involvements.

However, respecting the union with England and Wales, all three museums chronicle Scotland's support in conflicts (how Scottish courage and might has aided in British battles) and none of the museums linger (or touch on) Scotland's long history struggling against English powers. The only memorial to William Wallace, for example, was a small stained-glass window in St. Margret's Chapel. Though the Chapel is one of the oldest buildings in Edinburgh, the window depicting the warlike Wallace was a minuscule footnote next to the expansive war exhibits. That being said, I still was shook with shivers of animosity in viewing a Nazi flag taken in battle, feelings coupled with pride in the Scots for their part in WWII. Next to the Royal Palace (housing the Honours of Scotland) and the Great Hall is also the Scottish National War Memorial, honoring the fallen Scottish soldiers in rich and humble fashion. The castle offers wonderful views of the city below, and serves as an unmissable landmark from most points of the city. The castle is worth a visit for the strong architecture and impressive location, though the focus of the exhibits and symbolism is one of pragmatic might.

returning to the City of London on Sunday evening, Billy Pilgrim prepares for three classes the following morning, while Malexander Supertourist scrolls endlessly through facebook. the rollicking misadventure about the ordinary external world concludes, with the ordeal of the internal worlds approaching.

Criss-Crossing the Threshold; Turnstiles and Turmoils

Westminster Cathedral

Westminster Cathedral stands apart from other grand houses of worship in the city of London. Firstly, the building's architecture is styled in Early Christian Byzantine, and secondly the interior is both impressive and, well, unfinished. Architect John Bentley (who was converted to Catholicism for building the cathedral), was renowned for his Gothic Revival designs (preferring that style), but commissioned to build the cathedral in Byzantine style to set the building apart from Westminster Abbey; already completed in full Gothic glory. The framework of the building was completed with millions of hand-made bricks, while the interior is still under construction after more than a century. However, what is complete is rather breathtaking.


The interior features impressive marble-work, intricate mosaic tile work, wood flooring (laid in when the designs for the marble floor would over-extend the initial budget), and the blackened brickwork walls yet to be tiled. The seven side Chapels all feature a unique style, for instance the Chapel of St. Patrick featured Celtic design work differing in style from the Chapels of St. Andrew and St. Paul. This fusion of designs totaled in a wonderful house of worship, moving enough that I refrained from snapping photos of the amazing design work out of respect for reverence. The Cathedral also features a seventh story viewing gallery from the bell-tower, provided by lift from the back of the gift shop. The gallery can be quite chilly with winds, otherwise worthwhile. Finally, the Treasures of Westminster Cathedral includes some remarkable relics: from an intricate scale wooden model of the Cathedral by John Bentley, to relics of more than half a dozen Saints on display. All in all, worth a visit for any pilgrim or anyone remotely interested in architecture.  

The Wallace Collection

Resting at the North side of Manchester Square, Hetford House holds the Wallace Collection: a holdings of remarkable stock in paintings, furniture, armors, ceramics, and sculptures. A collection accumulated by the first four Marquess of Hetford, the galleries were gifted to the British nation and public by the widow of Sir Richard Wallace (son of the 4th Marquess) in 1897. The Wallace Collection now displays exquisite European masterpiece paintings from the 14th to 19th centuries, each in rooms of elaborate style and décor. That the Hetford House retains the aesthetic of a home gallery, rather than that of a museum, is part of the collections charm, although much of the furniture is roped off as works of art in of themselves. From the wallpaper to the draperies, each room provides a rich backdrop for the array of masterpieces, while each room attempts to group sets of art in complementary veins.

Following the perusal of the collection, we retired to the Wallace Restaurant in the courtyard for high tea. The courtyard restaurant featured a large glass ceiling letting in plenty of natural light on the quaint and elegant garden style dining. Delicious tea with fingerling sandwiches, scones, and delectable desserts (all served on multi-tiered trays) all proved a fine way to round out the cultured afternoon. However, I reverted to my roots by stuffing the many leftovers into zip-lock baggies for later in the evening. Exit wearing jacket and tie, carrying a baggie of soon-to-be-soggy cucumber sandwiches, under the curious gaze of the pristine waitstaff.

The Globe Theatre; Measure for Measure

We return to the Globe Theatre for the problem play, Measure for Measure. As the hardest play for scholars to categorize cleanly as a comedy or tragedy (definitively not a history or romance play), Shakespeare's play about judgement and corruption has had a mixed history of popularity. Featuring what some critics consider Shakespeare's greatest female character Isabella, the story of this play can be kind of a mess depending on the interpretation. In this production, the Globe sided towards comedic melodrama (maybe that's the term?) overriding dark themes with frivolous humor. Totalitarianism, sexual coercion, corruption and trickery lead to a seemingly happy ending; complete with a few well placed lies and a righteous bed-trick. Everyone ends up married, so the play's a comedy, right? Who can tell if scholars can't. Anyway, this production allowed us to finally view the full beauty of the Globe Theatre (thanks again Oresteia) and I can now recommend the Groundling view from the yard as the best non-seats at the Globe. Some of the characters were a little flat, and the comedy catered to the drunks and tourists to an unnecessary degree at times. But I'm happy with a somewhat problematic production of the problem play. Measure not lest ye be... ah whatever.

The Globe Theatre; Richard II

Back for a second October night in a row, the Globe's production of Richard II was (mostly) brilliant. The portrayals of Richard and Henry Bolingbroke (later Henry IV) were well conceived, leaving the audience to continually question which royalty to side with in a complicated historical case. Banners and Coats-of-Arms decorated this political drama, with perfect musical accompaniment from a quartet of trombones; providing both the celebration and lamentation as fitting. The design was perfectly classical and the staging tasteful. Well, tasteful until the Globe couldn't resist catering to Groundling tourists and undermining the tragedy of Richard's tragic murder. Immediately prior to Richard's tragic demise, we were treated to two scenes of slapstick comedy featuring a "monkey-in-the-middle" game with a pair of boots. The subject of these two scenes? Revolt against the King and later forgiveness by that King. Somewhere in there, the scenes devolved into a family melodrama filled with clowning fit for the Three Stooges. The Globe asking the audience to then switch gears back into classical tragedy was jarring; though possible to accept, the dual scenes definitely undermine the drama built over multiple hours sitting in the cold. Erasing those two scenes from my memory, the historical tragedy was nearly flawless.  In the end, I measure the Globe to deliver decent Shakespeare, but processing a definite tendency to cater to the Groundlings with raunchy and/or slapstick humor. Whether this tendency ruins the plays themselves is open for debate.

Sadler's Wells Theatre; Swan Lake

For classical ballet, this production was probably perfect, as well as the most conventional production we've viewed at Salder's Wells. Pretty dancers, dressed in pretty costumes, dancing pretty on a pretty set to a pretty orchestral score. I've never been so bored by sheer beauty in my life. I felt obliged to enjoy this production out of a sense of "high culture", but by Act II was left feeling this production made no cultural statement whatsoever and was a matter of tradition more than relevance. Mopey prince denies three pretty brides to fall in love with princess trapped as swan, with true love foiled by evil sorcery. When this plot is conveyed by a cast (all of identical body type) dancing on tip-toe, Swan Lake just felt shallow. Classical ballet takes rigorous body destroying labor to achieve the immaculate form and technique, however, I'll choose to be uncultured and state the beauty feels only skin deep. Like watching a Disney movie where all the characters will eventually need hip replacements, Swan Lake was the accumulation of beauty and labor into a children's story modeled for adults to feel stimulated and cultured. This production's execution of a classic was probably perfection. Bravo to all involved. However, that second twenty minute interval before the twenty-five minute final act ruined what little patience I had for this work of seamless beauty.

A Farringdon NCP Car Park Rooftop; Of Riders and Running Horses

This production from Dan Canham/Still House, presented by Dance Umbrella in partnership with The Place, had unique style. And free playbills. Oh yeah, and was performed on the roof of a car park with a live two person band. More of my style of event than Swan Lake, I'm also biased as this event had a pre-show music powered by stationary bicycles in the lobby (the lobby being the level of the car park below the roof). So admittedly, being allowed to physically power the music of Fela Kuti and Toots and the Maytals while drinking scotch will get me to support almost anything. Of the actual performance, there were several women dancing under the stars on a rooftop. At one moment the music gave way to 'silence', and the sounds of distant helicopters and sirens provided an organic atmosphere of it's own. The propose of the production was to create "the chance, which we need much more of on this crowded planet, to acknowledge the miracle of our simultaneous existence with some sort of celebration", and the piece ended with getting the audience to join in with dancing on a rooftop to the music of a cool October night. Mission accomplished.

East End Tour

Friday morning we toured London's east end. Starting at Liverpool Station, we made our way up historic Brick Lane with much talk of gentrification and various religious/social groups moving in and out of the area. Currently referred to as "Little Bangladesh", the area has served as refuge for Jewish, Catholic, and Muslim cultures (as well as various downcast general refugees) through the area's history. After stopping at the historic Beigel Bake for a cheap breakfast of Salmon, Cream Cheese, and Bagel; we headed for Bevis Marks Synagogue (one of the oldest Synagogues in Europe) for a brief tour. The interior of this Synagogue is virtually unchanged after more than three hundred years, having been designed and built by a Quaker during the close of the Cromwell era. For the general picture of the east end, there was street art and some interesting characters around Brick Lane. Some of our group called it a ghetto (albeit with a Subway chain sandwich shop?) but to me London's east end is lively, colorful, and probably much more affordable than downtown. To each their own.

Tomorrow begins our free week complete with Britrail Flexipass. 

Select few of us quench the fires of freedom by an optional all-day trilogy production of the War of the Roses in Kingston. After which I travel to the Scottish highlands and the Welsh countryside. 

Astride the doorway of potential, we sit in liminality.

Malexander Eats the Mentors; Reaching Without

Kenilworth Castle: 

The castle ruins have been recently restored, featuring newly installed walkways offering staggering views of the Warwickshire countryside. Initially built under influence of King Henry I, the castle was gifted and eventually retaken by King Henry III in what is possibly the longest siege in English history. The castle then became a residence for Lancastrian kings, up through Elizabeth I gifting the castle and lands to Robert Dudley; a favorite courtier of hers. After Dudley became Earl of Leichester, many elaborate improvements to the castle were initiated, as Dudley used the castle as a staging ground for his failed campaign to woo the Virgin Queen. Sadly, during the Parliamentary revolution, Cromwell's thugs tore down much of the castle's structure to prevent enemies seizing the fort. The castle then fell into disrepair, however, today the grounds can be enjoyed as an enchanting grand ruin.

The castle features a marvelous working Tudor garden (restored through contemporary illustrations and accounts), museum exhibits, and guided tours. However, the best times I had were discovering the winding stair leading to the ruined ramparts, and wandering an old cellar with excellent acoustics and an ominous feeling about the damp place. Also of interest were the many inscriptions carved into the castle stone, the earliest date I spotted being 1753 by John Goodall.

Stratford-upon-Avon: 

To be perfectly honest, I was quite impressed with this quaint little Warwichshire village. I had been dreading the level of commercialism with which (I assumed) the namesake of Shakespeare would be lavishly spread across the town, and apart from the Shakespeare Center/Birthplace, this was not the case. I found the Shakespeare monument very tasteful, and the biggest bastardization of the Shakespeare theme was in the names of B&B's, which didn't offend or bother me to any great extent. The town itself was lovely, being manageable within the time we were allotted. I will remember my first visit to the town from sitting by the Avon under a willow tree, watching the in-numerous swans float past as the sun set.

The evenings consisted of performances from the Royal Shakespeare Theatre followed by dinner at the dual-named Black Swan/Dirty Duck. The second night, actor Alex Hassel (who had played Henry V that evening) joined us for an informal question session. I was delighted when during his talk, Alex spoke of Prince Hals transition to Henry V in terms of Campbell's “Hero's Journey”: dubbing Sir John Falstaff as the mentor who lends Hal the valuable skill of role playing. Our trip also toured the Shakespeare properties; including Trinity Church (hosting Shakespeare's grave), Anne Hathaway's Cottage (romantically themed), and Mary Arden's Farm (a working organic Elizabethan farm). Shakespeare's birthplace was a little tacky with a sprawling gift shop and droves of Japanese tourists. I was more enthralled by portrait of Shakespeare drawn (and signed) by Ralph Steadman hanging in the lobby than I was to walk through a cramped room Shakespeare might have been born in.

Blenheim Palace: 

This massive and rich palace was the birthplace of Winston Churchill. The palace interior overflows with history and wealth; further featuring a chapel and rotating modern art exhibit throughout the building. Although the library was breathtaking, estates of this stature are otherwise of no interest to me as the expression of wealth through beauty becomes rather ridiculous (if not disgusting) to me in its own over-indulgence. Born to a different class of society was I.

This being said, the grounds of the palace featured gardens and ponds scattered with Greek statues, a butterfly house, a secret garden, and the world's second largest hedge maze. So I got lost trying to find the hedge maze (finding myself instead in the secret garden), and had to retrace my steps before getting lost inside said hedge maze. Good fun. The grounds were designed by Lancelot “Capability” Brown in romantic style; resisting the mundane order for controlled and carefully considered chaos. Though rich furnishings are not of interest to me, there exists at Blenheim Palace plenty of architecture, statues, gardens, grounds, and views to be admired. 

British Library: 

The British Library in St. Parncras is the largest public 20^th century building in the UK; a marvel in its own right. Furthermore, they hold every publication from the United Kingdom and Ireland, over 150 million items expanding with about 3 million more volumes every year. Now imagine this sprawling building with every available seat in reading rooms and cafes occupied by dynamic groups of students, and welcome to the British Library.

Of especial note within the Library's ranging exhibits is the “Treasures of the British Library” room. The treasures featured in this room include a baffling range. Religious texts include ancient editions from Hinduism, Christianity, Buddhism, and Islam in a range of languages. Historical documents like the Magna Carta, letters from Elizabeth I, correspondences from Karl Marx, and sections of Leonardo DaVinci's notebooks are on display. There is the largest, old celestial globe known to Britain and fragments of bone on which are inscribed the most early known forms of Chinese characters. Music sheets featuring hand written compositions from Bach, Handel, Mozart, and Beethoven. Of course, the library's treasure collection features an impressive array of manuscripts including W. H. Auden, T. S. Elliot, Oscar Wilde, Charlotte Bronte, and Jane Austen's writing desk. In view of these treasures, there is slight irony that the display receiving the most attention from visitors is the scribbles of John Lennon and Paul McCartney; rough drafts of future Beatles songs. While these deserve both tourist attention and British pride, that Lennon's scribbling draft of “Hard Day's Night” on the back of his son's birthday card should receive more attention than the Magna Carta or the earliest known translations of the Bible, lends an odd perspective to an exhibit of many treasures. The exhibit also features a somewhat lacking Shakespeare display, though the library does hold many original quartos (both 'good' and 'bad'), but not currently on display.

Royal Shakespeare Company; Hecuba

Playwright Marina Carr's adaptation of Euripedes' classic legend Hecuba inventively re-imagines the post-war horrors of the fall of Troy. The story opens with Troys defeat, as queen Hecuba sits among the corpses of her husband and sons. Hecuba then leads her two remaining daughters as prisoners of war to charismatic Agamemnon, as her final small son is executed. After the Greek army demands another sacrifice to move the winds, Hecuba's daughter Polyxena is slaughtered as sacrifice. The story ends with Hecuba's family in complete ruins, as the Greek army sails home to begin the Oresteia.  

Carr's delivery of the play is as innovative as her deviations from the original plot. The dialogue featured endless soliloquies and inner thoughts; revealing the damaged psychologies of the characters. The RSC's production was showcased on a mirrored set, with the production features minimal. Though there was a live band and a few props, the focus of the show was on the text itself and the actors embodiment of the language. An entertaining and troubling tragedy, Hecuba in full glory and shame was brought to life (and death) by the Royal Shakespeare Company. The greatest tragedy of the night was the many empty seats (perhaps half the house or more) on a Friday night: though the plays themes made the piece a perfect pick for the RSC season, the town and tourists appeared un-enthralled by this re-envisioning of infamous Greek tragedy. 

Royal Shakespeare Company; Henry V

One of Shakespeare's most beloved history plays, Henry V follows the exploits of Henry Monmouth, now King Henry V, in his famous military campaign through France. This production will be rebooted for a celebration marking the 400-year-anniversary of Shakespeare's death. The celebration, titled "King and Country" will feature the history plays in chronological order from Richard II through Henry V, detailing the tumultuous time immediately prior to the War of the Roses. 

Now, as the first professional production of Henry V I've ever seen, the delivery of this show was everything I hoped for and expected. The cutting of the script did not sacrifice much text in the shows three hour run-time, and the staging was fairly classical with a few unique features to make the production stand apart. The famous Chorus was specifically modeled to be very common or laymen in style and dress. Also drawing from the Chorus' speech on the audience fleshing out the text with their own imaginations: the set was minimal and their were no flashy fight scenes. However, the kings were decked in fabulous period costumes. Ultimately, the production balanced a combination of the dramatic and the humorous, delivering a Henry V that can appease both those with classical or more modern tastes in Shakespeare. 

Back within the city of London, without guidance for the weekend. 

Stagnancy and Boredom are the battlefields fought with free museums and cheap coffee. 

We few, we happy few. Alone and infinite. 

"History of Kenilworth Castle." Kenilworth Castle and English Garden. English Heritage. Web. 10 Oct. 2015.

"Facts and Figures." About Us. The British Library Board. Web. 10 Oct. 2015.

Billy Pilgrim Meets the Mentors; Reaching Within

Science Museum

London's Science Museum combines with the Natural History Museum and the Victoria and Albert Museum to make this section of South Kensington the most educational several blocks of the city. Showcasing many exhibits, both permanent or temporary, the museum includes an IMAX theater and probably the most entertaining gift shop of any museum in the city. The main exhibit charges an entrance fee, otherwise the museum is open to the public for a suggested five pound donation. Of course, the museum captures a range of science suitable for the fanatic to the infantile.

I spent most of my time in the Science Museum in the exhibit Churchill's Scientists; chronicling the history of scientific development in the WWII era and beyond. Ranging scientific achievements from defenses (like the development of radar and penicillin), to offensive capabilities (like the depth charge and the atomic bomb). Interesting information included everything from the British Atomic program being code-named “Tube Alloy” to Winston Churchill taking his anti-pneumonia medication with whiskey and water while in Africa. Also that Churchill's daughter Mary Soames piloted anti-aircraft guns during wartime. The exhibit then stretched into the Cold War Era, following Churchill's post-war career, but also tracking the scientists both filled with ambition and supplied with surplus equipment from the war. The same scientists instrumental in the victory of Britain in WWII made amazing scientific advances, utilizing the fervor and rigor acquired during wartime to advance the world in peacetime. The message I gathered from this exhibit, was that so much of the war (and the world both during and after) was effected from Churchill's faith in the sciences and the innovative scientists he gathered.

“The empires of the future are the empires of the mind.” 

-Churchill, Harvard University, 6 September 1943

Royal Court Theatre; The Hangmen

Martin McDonagh's first theatrical script in about a decade (busy writing films like In Bruges and Seven Psychopaths), the man who brought you dark Irish humor the likes of Cripple of Inishman and The Lonesome West brings forth laughably black humor set in Northern England in the 1960's. Now, as a sold out production (being rebooted for a four month West End run December-March), I had to queue up for return tickets about two hours before the show and bought tickets at full price, an experience in of itself. There was a woman on queue who had seen the matinee earlier and was back to attempt a second viewing in one day. So regardless of the reviews (which were smashing), I had a massive suspicion this show was worth the wait on queue and full cost seat. 

A black comedy centered around the city of Oldham's Chief Hangmen-turned-barman at the abolition of hanging. As morbid groupies hang about the ex-hangman's pub, a "vaguely menacing" Southern stranger arrives spiraling events down a dark and twisted road (that's also somehow knee slapping hilarious). A great script for McDonagh's return to the theatre, and a major hats-off to The Royal Court Theatre (a 'playwright's theatre' which prides itself on performing premier works) for a perfect execution of the script. There was not a flaw in the production: casting, directing, acting, staging, ect all perfectly accented the show. Notably, Anna Fleischle's scenic design featured a realistic jail cell that (no joke) floats away to reveal a realistic Northern pub, then unexpectedly reveals a realistic cafe, completely hidden within the set. One of the most impressive and innovative scenic designs I've ever seen, and probably the best use of a fly system I'll see for quite some time. Scripts were sold in the lobby for three pounds (fifty pence more than the ice cream...) and for the most expensive evening on my trip, I have no regrets. The cast deserved a third bow at curtain call but didn't indulge: when you're show is rebooted for a four month run, you don't need applause to tell you you've done your job well. 

Sadler's Wells Theatre; Young Men

And... back to Sadler's Wells Theatre for another dance performance on themes of war. This time by the Ballet Boyz: a group of classically trained men who broke off previous companies in hopes for something more than hoisting pretty girls in Rusian Ballets. The form and technique was impeccable, and the evening featured some very powerful dance movements. The troupe expressed brutality through grace, or maybe the other way around. Another evening of emotional/physical meditations on themes of war, very enjoyable and thought provoking. Having an amazing live mini-orchestra tucked upstage behind a scrim screen doesn't hurt either. Also some great use of stage fog combined with lighting. After three highly technically enhanced dance shows, I'd like to marry Sadler's Wells' lighting equipment/rigging systems if possible. As a critique of the show, I will say the impact of ballet paratroopers sitting on a dance marley and playing cards was lost on me. But hey, even then I enjoyed the musical accompaniment; so really no complaints, especially as someone who can't analyze dance anyway. 

The Peacock Theatre; Shaolin

This family friendly show was a kung fu exhibition featuring 25 shaolin monks. Featuring amazing human feats and martial arts, the show follows a loose story-line of the Shaolin Temple re-assembling and defending itself from the Emperor. Though the electric guitar soundtrack, digital animation projections, and voice over narration from David-Attenborough-sound-alike were a little much for me; this show also featured a group of (maybe) eight-year-old kung fu masters I wouldn't mess with. Also a guy breaking some sort of metal over his skull. And someone doing a hand stand with only two fingers on the ground. Stuff like that. The show was basically a montage of kung fu and physical mastery, showcasing the talents of a group of 30 performers. No one could walk away without being impressed with something from this show, even if the style isn't your style. And hey, the storytelling wasn't for me and the elaborate projections kind of annoyed me, but the kung fu form was nothing but admirable. And a guy laying on a bed of swords with double sided bed of nails on his chest, with another guy on top of that bed of nails getting concrete broken on his chest via sledgehammer. If that's not impressive, you need to lower your expectations for life in general. 

Women and Men Towards Mentors 

As classes continue with Bridget Hicks (Society and Shelter), Liz Carlin-Metz (Theatre and Dance/Program Leader), Charles Duff (Shakespeare), and James Roose-Evans (Acting) I'm surrounded with intelligent and wise mentors. Simultaneously and in unison, Billy Pilgrim finds inner strength and courage, while Malexander Supertourist bolsters pride and arrogance. I have carved out my little sliver of order into the vast Chaos of London. 

Still with time for coffee, I reunite with Graham Watts; a friend and London director I worked with on a production of Henry IV part 1 in Alaska with Fairbanks Shakespeare Theatre. Though he resides in Essex, Graham will be working on a production of John Flescher's The Sea Voyage with the British American Drama Academy here in London. This means I will visit with Graham several more times and potentially introduce Charles Duff and himself; hopefully at the Globe Theatre for intensely intelligent discussions on Shakespeare. Meanwhile, we wait for Godot. 

Refusal of the Call Saddens Malexander Supertourist

Tower of London

First let me say, the Tower of London consists of multiple towers. More surprising is that this impressive complex is a bustling small village within the thick walls. Housing many exhibits (including the monarchies Crown Jewels) this military fort is also home to a population of Beefeaters. Also referred to as “Yeoman Wanders”, the Beefeaters are all retired Armed Forces non-commissioned/petty officers with extensive service, now serving as the ceremonial guard of the royal and historical fortress. The village inside the Tower of London even offers them three pubs within the complex. Point being, this ancient and thick structure appears barren from the outside (off set from the rest of the city by an expanse of lawn which was historically a massive moat) is really a bustling and charming place. Also an interesting superstition England has upheld for hundreds of years, is there must always be a group of ravens housed at the Tower; if not, the monarchy would crumble and England would topple with all things dastardly. So the ravens are treated as royalty, their wings are clipped (otherwise free to roam/hop/fly the grounds), and there are official 'back-up' ravens on call in Scotland and Wales.
Initially a military fortress build by William the Conqueror, the structure has never been taken during any siege. Over time, the structure has been expanded, utilized as a elaborate guest house before the transition into a prison and execution site. Most famous for housing and killing off Henry VIII's wives (fun fact: Anne Boleyn was imprisoned in the Queen's House addition to the Tower: a wedding present from the King before she was executed for alleged adultery, incest, and treason), the central White Tower features several of King Henry VIII's suits, one suit featuring a wonderfully bulbous codpiece built into the armor. The Tower has an intensive history, though our visit was cut short in order to catch a matinee performance. 

TATE Modern

Located on the South Bank across the Millennium Bridge from St.Paul's Cathedral, the TATE Modern features art that only gets weirder the more floors you journey upwards. All the Picasso and Dali is closer to ground floor, while the upper floors may contain a Warhol or two; otherwise things get pretty experimental. Which isn't a bad thing as long as its your kinda thing, and after three trips to the TATE Modern, I don't think its my kinda thing. But here's a modern art lesson from Michael Baldwin: 

Find a mirror in your house. Any ordinary, unassuming mirror. Give it a good wipe with Windex to clear off any dust, rust, or toothpaste that might have gathered on the surface and collected in interesting natural forms. Now, if you can't rehang that mirror in a museum like the TATE Modern, just imagine it's hanging in a museum like the TATE Modern. Examine the work of art (or mirror) with thoughts like "it captures it's environment and converts the world to art itself!" then qualify the artist with phrases like "this masterpiece is genius- art and reality are converged and translated into one". Now sell this basic household mirror at top dollar to any museum that hasn't heard of Michael Baldwin. Failing that, this is a free lesson in turning your bathroom into a modern art museum. Now examine the bristles of your toothbrush with your new found appreciation for modern art. 

Duke of York's Theatre; Farinelli and the King

This new play by Claire van Kampen features the return of Mark Rylance to the London stage. A creative retelling of the famous castrato singer Farinelli, swept off the opera stage to perform exclusively for Philippe V, the ailing King of Spain. Performed in classical style, with string accompaniment and lit mostly by candle chandeliers and footlights; similar to the signature style in which Rylance led the Globe Theatre as Artistic Director. The performance also featured two Farinellis: played by Sam Crane during dialogue and Owen Willetts for the opera arias. This dual actor trick worked in harmony with the dialogue, in which Farinelli describes his performance persona as separate from himself; an identity created by his composer brother (who castrated him at age 10) and audience expectation. The two actors did not acknowledge the other's presence until the final moment of the show, when Farinelli parts with his career; creating a touching moment as Farinelli denies a summons to return to the operatic stage. Owen Willets beautifully delivered seven arias within the play, five of which composed by Handel. Mark Rylance delivered immaculate comic timing: the first scene of the play reveals the King sitting in bed, fishing from a goldfish bowl, and attempting a dialogue with the obstinate gold fish. This first scene featuring Rylance alone was worth the ticket price, despite the strange feedback (similar to tinnitus) the speaker system delivered through most of Act I. 

The Barbican; Hamlet

Benedict Cumberbatch as Hamlet makes this production one of the hottest tickets in town amongst schoolgirls. Or rather Hamlet as Benedict Cumberbatch makes schoolgirls around hot for tickets. Whatever. Cumberbatch is a fine actor. Still, I was unimpressed with this impressive effort of a production, making full use of what was probably the largest production budget I've ever seen. Visually, the show was stunning. Still, schoolgirls taking flash photos of the pre-show "no photography" signs signified how Cumberbatch's star power was blinding and impossible to look past. And his efforts were admirable. Otherwise, the cutting of the text was so dreadful, most character relationships paled through the stripping of text to streamline the play to Cumberbatch's next big monologue. Polonious was not a spymaster; he became a bumbling clown whose death (a real turning point in the play) became laughably secondary within the scene. There was more established chemistry between Horatio and Hamlet as a bro-mance than between Ophelia and Hamlet as lovers. Despite the multi-award-winning cast (even Cumberbatch's supernova star power), supported by a massive set, complimented by film noir lighting, and ornamented by rich costumes: this was a hack-and-slash brutalization of the original text. My favorite moment of the show was the anti-climatic close after everyone was dead, in which the English ambassador was eliminated and those lines not cut given to Young Fortinbras. This meant that Rosencrantz and Guildenstern's deaths were never confirmed, so I like to believe in the world of this production their still out there (take that Stoppard!). My Shakespeare professor decided he'd rather be at Wednesday mass and walked out at the interval. My other two professors didn't applaud, instead one stuck her fingers in her ears to drown out the wailing of schoolgirls at curtain call. So A+ for making schoolgirls excited about Shakespeare, but C- on actually doing Shakespeare justice. 

However, there was an interesting moment during curtain call when Cumberbatch used is star power to hush the deafening cheers to recite a poem and make a note about Syrian refugees. An admirable moment from a celebrity, Cumberbatch encouraged everyone to donate to charities. Then he acknowledged that most the audience were broke schoolkids, and encouraged them to harass their professors to donate instead. Exit Hamlet to thunderous applause and screeching, while schoolgirls stormed the stage door he would never appear from.

The National Theatre; Pomona

Well then, Pomona. Performed in the Shed, the black box, in-the-round theatre space at the National. Cast of seven characters. Dark atmospheric design. Cthulhu mask. That's about all I'm certain of. 
A young woman travels to dark places in search of her missing twin. I think. Somewhere nestled among the dark themes of the play (like prostitution, snuff films, organ harvesting, contract killing, etc) there was a H.P. Lovecraft themed Dungeons and Dragons Role Playing Game. So the search for the sister could itself have been a dark Role Playing Game that then featured a game within the game? Or the game(s) were commentary on the repeated cycles of violence within cultures? 
A verdict is hard to reach. There were extremely dark themes addressed, contrasted with 100 Chicken McNuggets, quirky fetishes, and a humorous summary of Raiders of the Lost Ark. The show began with the demise of most of the characters, and ended (not resolved) with the story arc set for another revolution (I think). I had to buy the script to dissect this complex play to a further extent. To condense my review to a single sentence: "pitch black comedy delivered any way but linear". A rare experience experienced rarely in theatre.  

Free weekend, wherein I shall stay in the City of London recovering from a cold and puttering about. Many have departed for places like Paris or Amsterdam. Good riddance to them and to myself.