No, still not the Marlowe/Shakespeare one, that’s on tonight. Instead, two plays I had on my list as maybes, but not musts, hence only bought the tickets on the day and therefore cheaper. :)

Charing Cross Theatre: The Daughter of Time

By playwright named M. Kilburg Reedy, based on Josephine Tey’s novel of the same name which three quarters of a century ago stroke a mighty blow for Richard III in hte public imagination. Background here for people who haven’t read it: Josephine Tey wrote this as the last and most unusual of her series starring her detective, Inspector Alan Grant, who in the novel, which takes place then-contemporary to its publication in the late 1940s/early 1950s (pre Elizabeth II’s coronation at any rate, her father is still on the throne), fights off the boredom of many weeks in the hospital by getting interested in Richard IIII and deciding to solve the mystery of the Princes in the Tower. More Background: Josephine Tey was a pseudonym for Scottish Author Elizabeth MacIntosh, who also was a playwright under the alias Gordon Daviot. Her most famous historical play was probably Richard of Bordeaux, about that other controversional Plantagenet royal named Richard, Richard II., which she wrote after having seen young John Gielgud play Shakespeareas Richard III. It was a smash hit and contributed to making John G a star. However, The Daughter of Time is a novel, by its very premise is confined to one hospital room and a lot of thinking about history, some of which, granted, presented via arguments with other people, but a lot also via thoughts and musings about text excerpts, and I was really curious how someone would manage to dramatize it in a way that works on stage.

( Spoilers still aren’t sure whether truth is the daughter of time… )

The Other Palace: Saving Mozart.

It’s London, it’s theatre, there had to be at least one musical. In my case, a new one by Charli Eglington, which feels a bit like someone on Tumblr after watching Amadeus decided they wanted to write prequel fanfiction with a feminist slant, focused on the women. Which means that while we’re following Mozart’s life story from Wunderkind to early death, in the first half of the musical Nannerl has a claim to being the main character and in the second half Constanze. It’s about as historical as Amadeus (meaning it uses some facts with a lot of fictionalisiation), with a lot of laudable #JusticeforNannerl and #ConstanzeRules sentiment.

( How the women in his life saved Mozart )

All in all: not a must, but if you want a new musical where everyone sings soulfully in Steampunk Rokoko costumes, go for it.

More plays:

Harold Pinter Theatre: A Man for All Seasons

By Robert Bolt, who at least in terms of this particular play is to Hilary Mantell what C.S. Lewis is to Philipp Pullmann, i.e. Wolf Hall and sequels are the His Dark Materials to A Man for All Seasons’ Narnia, and as in the Pullmann-Lewis case, Mantell ended up doing exactly the same thing they begrudged in the end, just from the opposite direction.


( A Thomas by any other name… )

Foundation 3.06: In which the moon isn’t the only thing eclipsed.

( Spoilers have provided data )

Very enjoyable indeed, and it seems we’re finally free from the Snyder influence as well as the colour-drained imagery. This is Superman not just in primary colours but as an unabashed boy scout, a good person who often lets a nice, calming remark go with the rescue of an understandably frightened person. I was often reminded of JMS’ memoirs in which he wrote what Clark Kent meant to him as a child - someone who is above all other things kind, who combines his strength with decency, who was a friend. (Given JMS had the abusive childhood from hell, fictional Superman was literally the only person who was.) Also, director James Gunn doesn’t go for the relentless slapstick/gag machinery which had put me off the first Guardians of the Galaxy movie for a while (and off Thor: Ragnarök), which isn’t so say the movie is without humour, absolutely not, but it’s used in a way that leaves the more serious scenes room to breathe. Perhaps the fact helps that we have here in the year 2025 a movie with a hero who is an illegal alien (and gets explicitly attacked for that reason), whose enemy is a demagogic techbro billionaire who uses literal evil monkeys on social media to campaign against him (and that’s the most restrained thing he does, his other plots going all the way to the usual world endangerment as par the supervillain course), and a US government who thinks nothing of teaming up both with the billionaire and with villainous foreign dictators, outsourcing the imprisonment of our immigrant hero to them to get rid of the pesky human rights he’d nominally have on US shore…. Yeah.

(Subtle, this movie is not.)

I loved how absolutely committed to its comics origin the film is, most obviously with Krypto. If you’ve seen the trailer: Krypto’s appearances in the movie are all like this in tone during the movie, and it’s adorable even for a cat person like me. Most of all, I loved that Lois Lane, played by Rachel “Mrs. Maisel” Brosnahan, really gets to be a reporter in every fibre of her being, in a show, not tell manner. The scene in which after Clark made the mistake of saying he’d let her interview him as Superman she relentlessly grills him (not in an unfair way, I hasten to add, but asking exactly all the questions which a good reporter WOULD ask in this particular situation) is as good as advertised, and it’s Lois’ reporter instincts that hugely lead to saving the day. (Along with various other factors and people, making this in addition to everything else a good ensemble movie. Also, since the movie starts with her and Clark already in a relationship and with her knowing he’s Superman, we skip the Lois-Clark-Superman-secret identity trope. (Look, I loved Lois & Clark in the 1990s, but it really would not work anymore today if we’re to believe in Lois the excellent reporter. )

( Somewhat more spoilery from here )

In conclusion, I really liked this one, and look forward to Gunn’s further contributions to the DC movieverse.

In which Gaal unleashes her inner Hari, and lots of revelations happen in all plotlines.

( Spoilers need to get the plan back on track by any means necessary )