I haven’t written anything here for a while. I should like to blame this absence on some painful internal tumult which was caused by a combination of wine, women, and song. Other than a lot of time spent thinking about Robin Thicke’s summer masterpiece (and brilliant parodies thereof), Miley Cyrus, and just-what-the-hell-I-have-no-idea what Miley Cyrus was doing with Robin Thicke at the VMAs, this has not been the case. Instead, I’ve been sleeping a lot, travelling a little, turning 30, moving house, trying to figure out how I feel about all of my best friends’ recent engagement announcements, and generally having the sort of lazy but probably restorative summer that you need in a city like New York some years.
As Autumn (or Fall, as the natives call it) sets in, though, I realise that I do probably need to write a little more, not least to stop thoughts from crowding my head too much. (This leads to problems. I’m starting to forget names that I would never have forgotten before, or where and when I met people.) I don’t imagine that anyone will read anything that I write here, which is freeing. To keep myself accountable all the same, I’m going to state that I plan to attend the following theatre performances this season. If they’re worth writing about at some length, I’ll try to do so. If they’re not, I might add to this post to say as much.
All That Fall (Michael Gambon. November 5 – December 8.)
Arguendo (Public Theater) (I saw this last week. The idea of basing a play on the transcripts of a Supreme Court decision about the line between obscenity and freedom of expression is a nice and innovative one. In all honesty, the play drags a bit and the visuals detract a little from the real story, which is the case. I found the prelude and epilogue more interesting than the main action. Listen to the transcripts instead. They’re much funnier.)
Betrayal (Daniel Craig, Rachel Weisz, Rafe Spall, in Harold Pinter. Obviously.)
The Commons of Pensacola (Manhattan Theater Club. Sarah Jessica Parker and Blythe Danner.)
Machinal (Rebecca Hall. Previews December 20 – January 16. American Airlines Theater)
No Man’s Land (Stewart and McKellen, in the only Harold Pinter play I’ve properly studied, in a play where the lead characters are named after Yorkshire Cricketing greats. Again, obviously.)
Richard III (Maybe … Kevin Spacey will be hard to top.)
Twelfth Night (Previews October 15. Stephen Fry.)
Waiting for Godot (Patrick Stewart and Ian McKellen again. Whether I go will depend almost entirely on how I react to No Man’s Land)
The Winslow Boy (Alessandro Nivola, who’s married to Emily Mortimer but used to date Rachel Weisz. A man who’s been with two goddesses must, at least, be a demigod. I plan to take a large specimen jar and use it to capture some of his aura, and bathe in it regularly. Previews from September 20, American Airlines Theater)
It promises to be a good Autumn. I hope that I manage to write a little more here – about the theatre, and about other stuff. If it eventuates and you happen to read this little more, I hope that it’s not an utter bore.