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.