I usually don't let people down. Should that happen, I don't feel good about it.
Hold on, this post was started in a cocktail bar. On an iPhone. Don't drink and blog. Ever.
Good news is, saw the guy today and he didn't slap me. Sure he's disappointed, but not angry. He'd have every right to be both. This makes me feel even worse. In short, I (sort of) agreed to do the publicity in schools for a bilingual production of Romeo and Juliet, but I ended up not doing it. There wouldn't have been any money in it for me at all, but I had agreed and didn't do it after all. Baaad practice. Not proud.

However, the reason why I saw the guy in the first place was that I attended the Cologne independent theatre awards (yes these exist). I had a job interview as well, before and after. Strange thing. It wasn't really a job. Apparently people don't even want to let me work for them for free. No, he didn't know about the aforementioned stupidity, so that's not the reason. Now the blogosphere knows, but who cares?
Indeed, who cares at all?

Blogging from the iPhone is new. Curtesy of the National Theatre WiFi, it is possible to avoid the awkwardness of internet cafes (where are the accents on the iPhone keypad?), and enjoy some peace and quiet. Nick Hytner, I might roll out my futon in here one day.
My three day, four play London trip has started out well, unexpectedly well at that, with fairly warm and sunny weather for mid-November. Climate change alert, I know. The fact that I got here by plane doesn't help, either. But there was a new (pub) theatre to check out: Et Cetera, Camden. Oh, the joys of Fringe theatre! Sally Torode's "Open Yarmouth" was grand, albeit just one hour long, but the intensity of it, combined with the small size of the space made for a jaw-dropping experience. (As we all know, I am quite fond of that combination.) I loved esecially Teresa Jennings' "Dervla", the initially rancid, but honestly caring Irish mother.
Again, as so often, I didn't properly check the lineup of Nicholas Wright's "Mrs Klein" at the Almeida. Clare Higgins and Nicola Walker in one play? Need I more reasons to love London? Zoe Waites as Melitta was new, but I loved the "Low Level Panic" approach of an all-female cast of three. It was a bit strange that Nicola Walker's character Paula, complete with convincing German accent, was present on stage during some rather delicate mother-daughter confession talks, but maybe it was their way of dealing with certain problems. And all that was just before 5 o'clock.
Onto the next little theatre that could, the Union Theatre in Southwark. How on earth were 17 people plus musicians supposed to fit in there? No joke, just cheerful, gratifying amdram, presented by true pros. I didn't know they made these anymore. You just wanted to give Alfie a pat on the back, cuddle Baldy (ok, will stop this in a minute) and tell the sister to stop worrying so much. And have a drink with all of them at a Dublin pub. Awww, didn't check the lineup properly, again. The musicians were almost exclusively comprised of cast members, so there was only one additional person on stage. This is all the more admirable, performing double duty in such a (charmingly) confined space. Claustrophobia, moi? I might prefer isle seats, and wrapped myself around a pole almost unnecessarily as to not obstruct the actors' entries, but I can go to Fringe venues and love them, and also use the tube at peak times, if need be. I'll be back for the last show on December 5th, hopefully; one of my whirlwind one-day-trips, two plays in twelve hours ...

Stories by Heart is a wonderful evening of compelling performance and heartwarming talk by Tony award winning actor John Lithgow. He is one of the best stage actors America has to offer. And - surprise surprise - he is also RADA-trained.

The actual reason why I came over yet again and only for one day was that I wanted to see the musical that never happened, but since there are still legal issues, it shall remain unnamed. So what to do? Yes, I am a sucker for one-person-shows (as long as it is the right person), and see, how fitting, almost exactly one year after Vanessa Redgrave trod the stage of the Lyttleton alone, there was another one of these and yet, they couldn't be more different. Lithgow's show was almost as much about himself as it was about the two stories he actually told: P.G. Wodehouse's "Uncle Fred Flits By" and Ring Lardner (Sr.!)'s "Haircut".

Blogging is hard. Will continue this post, too, shortly.

The marathon is over and I ran "the half". And finished. Not in 2:30, but in 2:47:54, which for me was really great. Under 8 mins/km, for over 20 kms!! I was knackered in the end, as it all started as early as 8.45 a.m. It was really cold, but I soon was glad about that and also about the light rain.




Yes, it was real.

Will continue this post ...

I haven't been blogging here for quite a while. In the meantime, besides the Cologne "Rage", there have been a few notable theatre shows I had the pleasure of watching; actually there have only been two so far: Fay Weldon's "Breakfast With Emma" at the fab Rosie (Rosemary Branch) and Racine's "Phèdre" in an impressive translation by Ted Hughes, starring Helen Mirren at the National. There was also yet one more Brel Show at Jermyn St., with an oh-so-attractive South African singer named Claire Watling singing - brace yourselves - Mort Shuman translations. Sixteen of them, nothing in between. Brrr. My first and hopefully only glimpse of "Alive and Well". I hope Miche and the girls still get some decent royalties out of it, yes and I know that the youngest of the daughters has now long passed the ripe old age of 50. Granted, Watling's "Seasons in the Sun" was rather fitting, but it wasn't Brel, although he alledgedly approved of Jacks' rendition. Fair enough.

I know this blog doesn't live up to its name when I post about running rather than caffeinated drinks and stage shows, but this is what's been on my mind as of lately. I've been aiming high, too high, and registered for the Cologne Half Marathon. I honestly thought that I could improve from the 12 min/miles I had been achieving in early May, but no such luck. I was only able to replicate a five mile run within one hour - not even quite - today, in 15 degree weather and light rain. My recent accident and the fact that I started too late and finished in pitch black darkness slowed me down, however. Careful with the running; in the words of Terry Jacks (see above) "Skinned our hearts and skinned our knees". True, I give you that. The time limit in Cologne is 2 hrs 45 min "gross". With a 15-minute wait, all I'll have left is 150 mins. 7:06 per km?? No way! The entry money's gone, though, so I can quite as well make a fool of myself.

On the upside, back to theatre, I'll get to see "The Pitmen Painters" next week. This time it is at the Lyttleton instead of the Cottesloe, which is a bit of a bummer, but I scored a front row ticket for a tenner. Bliss. Oh, and another "Rage" (well ...), at Radlett. Hmmmm ...

Bringing home the ... Brel. After France, Greenwich, Norwich and Chelmsford, "Jacques Brel - The Rage to Live" will have two performances in Cologne, Germany. It's a small, cosy theatre in the very centre of the city, just steps away from the main station and the cathedral.

Friday, March 6th and Saturday, March 7th, 8pm.

Horizont-Theater, Thuermchenswall 25, 50668 Koeln/Cologne

Tickets: € 16/€ 10 concessions (unreserved seating).

Call +49 (0)221 - 13 16 04, Fax: +49 (0)221 - 13 89 21, mail@horizont-theater.de

http://horizont-theater.de/Brel.html

There is also a webpage with reviews, a synopsis in German and a few photos.

This time it'll be just singer/actor (Anthony Cable, comme toujours) and piano (a doubtlessly very dapper Michael Roulston). Can't wait to hear what this is like. The spoken text is in English.

It seems to only work in part, but I am so awfully proud that I just have to post 'n' boast.
As an explanation for those who can't open the link, I managed to run 5K at once in just under 40 minutes.

I'm running now. Well, not really running, more a combination of jogging and walking, commonly referred to as the "couch to 5K plan". There is a very good book by Samantha Murphy in which she outlines a possible training plan; even in actually training for an upcoming race, she suggests three days of running, two days of strength, one day of yoga and one day of no increased physical activity at all. My partner refers to those as "Churchill days". I had one today. It doesn't really feel too good. I'm paying a flat fee for use of the power plate at a gym, and only using it twice a week would be too expensive. So I'm doing something every day, not only because of monetary considerations. Tuesday is pilates day. Fair enough.
I can now run four minutes at once. Getting to 5K very slowly, but consistently.

One of the great things about the London theatre scene is that you often get a second chance. Cases in point: "Equus", or more recently "Frozen" at the Greenwich Theatre, although the casts are different, naturally. But also revivals of musicals such as "The Sound of Music" or "Joseph" (please don't get me started on the "art" of casting West End shows on TV, thus giving the singers the questionable "As seen on TV" label before even the first rise of the curtain). And to top it off, the bona fide screen and TV stars might even return. A while ago, Juliette Binoche was seen in a Pirandello play at the Almeida, in the course of which she broke a foot and could not present the Oscar to the next Supporting Actor at the 1997 ceremony. Frankly, I hadn't heard all too many raves about the play.

This month, she returns to London's Lyttleton Theatre at the National to co-direct and star in a dance performance called in-i, with acclaimed dancer and choreographer Akram Khan. I'm not particularly crazy about dance theatre, but my curiosity was sparked. I must admit that the experience won't send me crawling to Wuppertal to watch the best in German dance. It wasn't bad, but maybe I just don't get it. However, I do admire her skills. (There'll be an update of this post soon, as I feel this topic requires some further research. Just wanted to brag right away : )) I did manage to "smuggle" in some - excellent - latte from the National Theatre Espresso Bar, which is hereby highly recommended. It was in a paper cup, so it might have not been smuggling after all. I do think that coffee'n'theatre should be enjoyed together at times, and no, I was not on the brink of falling asleep. And even if, blame it on the 7am flight.

What, in contrast, I do get every time is - you guessed it - "Jacques Brel - The Rage to Live", which was on this time at the Greenwich Theatre. Of the recent performances of the "new format", I liked it the best so far, although there were some minor, not entirely intended, idiosyncrasies. However, this is just normal when every show is a one-off. But then, I've never seen a show as many times as a paying audience member (runner up: Skylight). And no, I am not done yet.

Maybe I was just intrigued by the spic-and-span venue. There might be a certain charm to the unintentional shabby-chique-ness of unrefurbished theatres, but there can be something comforting to clean walls, carpets - and toilets. I also liked Peter Davies' new photos, which were displayed lobby-card style. I know that it seems to be a lot about the trappings rather than the performance, but they can be oh-so important, too. And yes, the performance was great, and so was the audience response.
Just as a note: do check in advance whether the DLR is running properly or you'll end up like me, toting a 20-pound duffle bag under the Thames river. At least take a trolley bag.
And thanks for the twentieth time to Anthony and Danièle for giving me a lift to Euston station. It did save me a lot of trouble.

It's over. Well, officially not until October 1st, but I have left university. It just did not get me anywhere. It is somehow scary, as for the first time - ever - I don't have anything to fall back on. Maybe it's a good thing. But then, not all universities will close their doors on me forever. I have no real plans yet. I'll get some form of consultation soon. There is a lot to sort out. In the meantime, I should do some reading, without the lists or the pressure.
I'd love to go see the film "Elegy", which is based on Philip Roth's "The Dying Animal". I have to re-read the book again first. Just remembered that I really liked it, but I don't exactly know why. The last film I saw was "Hanami - Cherry Blossoms" (Doris Doerrie, 2008). It was beautiful, if a bit sad. Hannelore Elsner is a bona fide German Fanny Ardant.
I'm currently reading Haruki Murakami's "What I Talk About When I Talk About Running". It is fascinating even for non-runners or treadmill-walkers like me, as it is a life lesson above everything else. I know that Japan is unbelievably expensive, but I'd like to go there one day. At the moment there are two more trips to London to look forward to (and two more "Rages"), along with additional performances by Juliette Binoche and Vanessa Redgrave.

Love means caring about someone else's happiness and wellbeing more than about your own, all the while making sure that you don't go under yourself.

Here's a woman who honestly aged gracefully. I thought I needed a "trial run" during Les Rencontres Brel - turns out I needed it indeed - and hey, why not go hear her sing? Yes, yes, yes, how great was that?
She is so amazing. After a rather strange but entertaining performance by a guy who did some dancing to Brel songs, called "Compagnie de Fakto", she came on, and stayed on (and on) for an amazingly long time. She doesn't look, and certainly doesn't sound her age, although she cleared her throat every once in a while between the songs. Her choice of Brel-covers was eclectic, to say the least; no "Diable" in sight, or rather within earshot.

Bruxelles
Mathilde (are women allowed to sing this?, her version was brilliant in any case)
J'arrive
La Chanson des Vieux Amants
Ne Me Quitte Pas

Although her vieux amants didn't kill me, as it was modified enough not to directly spark memories of "Rage", there were involuntary tears. Otherwise she sang a lot of Carrière/Jouannest as well as Gainsbourg-covers, all in all a good ninety minutes. Brava.

The whole site of "Les Rencontres Brel" looks like a mixture of flea-market, fairground and circus, with a giant tent "Le Chapiteau" erected in the middle. Nice visitors, too. I lost my wallet yesterday after some stupid mishap involving a water bottle (don't ask). It was returned to the ticket office with nothing missing from it. Merci du fond du cœur!

It was a weekend of musical perfection.

First, "Jacques Brel - The Rage to Live", this time at the Rosemary Branch in Islington. It is a tiny space, only 57 seats. I was desperate to see the show again, but also a bit anxious, for all kinds of reasons. And yes, there were changes from the New End run. The musicians started with their own little shtick about having to go through some bits again, the last of which was the first musical number of the show, "Vieillir", at which point Anthony Cable came down the aisle (in his own clothes and sans toque, or is it casquette?) and started singing. Thus the play began. It was a completely different atmosphere, but no less captivating than the original production. Anthony switched between third and first person narrative, and often pretended to be talking to the musicians about Brel rather than being Brel himself. There was an interval after "La Valse à Mille Temps". It was great to hear the songs again, especially the ones that had not been recorded, most notably for me "The Man from La Mancha". I was so glad that the second to last song was changed from "Vieux amants" to "Mathilde", as to hear the former again would have killed me. Literally.

The next day we saw Leonard Cohen (in Amsterdam, of all places), a fascinating character, nearly seventy-four, but still in excellent nick. He seemed truly touched by the sheer number of people who turned up, taking off his hat in reverence during each applause. We decided to stay rather far back, but it was still quite an experience. I seemed to be the only person within a 9 ft radius that knew the lyrics to "Closing Time". If anyone had told me twelve years ago that I was going to get to see Cohen live, I'd've thought them crazy.

Setlist:
Dance Me To The End Of Love
The Future
Ain't No Cure For Love
Bird On The Wire
Everybody Knows
In My Secret Life
Who By Fire?
Hey That's No Way To Say Goodbye
Anthem

Tower Of Song
Suzanne
Gypsy Wife
Boogie Street
Hallelujah
Democracy
I'm Your Man
Take This Waltz

So Long, Marianne
First We Take Manhattan
Sisters Of Mercy
If It Be Your Will
Closing Time
I Tried To Leave You
Whither Thou Goest

The weather was kind, the sun even came out at some point. The Westergasfabriek is an interesting venue; great catering, too (I know this isn't the time to rave about food, but their fruit cups were beyond excellent, providing a much-needed vitamin boost and not even too expensive). It might have been nicer to see him in a more intimate venue, but I'm glad to have seen him at all. The place being Amsterdam, the whole affair turned into one giant coffee shop with pot being smoked left, right and centre (I actually drank coffee, lovingly prepared with latte art and all)!!!

Thanks so much to fellow Brel AND Cohen fan ASH for letting me sleep on an air bed in the living room (and for also driving me to the airport, wow!). Bless you! Otherwise, I don't know how I'd have made it through the Cohen concert.

The Wednesday before, I spontaneously attended a concert by k.d. lang in Cologne. Her Cohen-cover of "Hallelujah" alone was worth it, but "Constant Craving" never sounded as good, either.


* "Vieillard tonitruant" ("booming doter") is what Brel called himself (at 49!) in "Vieillir".

Honestly, can't wait for the football to be over.

Am I the only German rooting for Spain, if I'm rooting for anyone at all?

Since I am not advertising myself, I guess it's ok. The show Jacques Brel - The Rage to Live is back on for one night only at the Rosemary Branch Theatre in Islington (N1), 2 Shepperton Rd. on July 11th, 7.30 pm. Hope it'll be well-attended. Can't wait to see the show again. I hear there are some changes to the New End run. Fair enough.

For tix, call the box office at 020 7704 6665 and leave a message.

Rosemary Branch Theatre

I don't work for them, honestly, I just believe this show deserves an audience.

Jacques, je mangerai des frites en l'honneur de toi.

Indeed, what do you do when a wall appears in font of you?

a) go around

b) climb over

c) go through with a pick-axe

d) sit down in front of it and reassess the situation

e) calculate the probability of tunnelling through

Since I don't want to do e), I have to choose d)


If I approach the wall at 3mph, I'd still have to know how thick it is, but since I've long lost my centre of gravity, I wouldn't be able to do any calculation at all.

Quantum physics is not my thing.

Usually: "Waiting for the Miracle (to come)" by Leonard Cohen

Today (so far): "Here Comes the Sun" by The Beatles ; )

This selection might change and there might be updates. Stuart Barr (MD extraordinaire) claims that these lists are tricky, as people tend to judge you by them. Fair enough. As far as I remember, you get to choose eight albums and one song from each album. Let's make it ten, so it's not too hard.

In no particular order

Miles Davis: Ascenseur pour l'echafaud - Florence sur les Champs Elysées

Thomas Allen/Geoffrey Parsons: On the Idle Hill of Summer - Heart's Haven (Ralph Vaughan Williams)

Leonard Cohen: Ten New Songs - A thousand kisses deep

Yo Yo Ma: Solo - Sonata for Solo Cello, Op.8; I. Allegro Maestoso ma Appasionato (Zoltan Kodaly)

Jacques Brel: Quinze Ans d'Amour - Amsterdam (who'd've thunk ...)

Anthony Cable/Stuart Barr: Jacques Brel - The Rage to Live - Jacky's Song (dito)

Benjamin Britten: Curlew River - Clear as the sky without a cloud

update*
k.d. lang: Live by Request - Black Coffee

Sting: Leaving Las Vegas - Angel eyes

The Rolling Stones: Forty Licks - Paint it, black

* saw k.d. lang yesterday for the first time live in Cologne. Her Cohen cover of "Hallelujah"
alone was worth the admission price, but Black Coffee is an old Ella Fitzgerald song

Maybe, I've got too much time on my hands, but I've come to love so many of the songs now. This is also an exercise in embedding YouTube vids.
I'd like to retract my earlier verdict that Brel wasn't watchable, which was based on a (video of a) sweaty performance of "Les Bigotes". However, I still love A.C.'s performance. Who else can make the word juggernaut sound sexy? Why aren't there bootleg vids from "The Rage to Live" (ok, the reasons are obvious). I have by now downloaded some of Scott Walker's versions, of which I like "Mathilde" and "Next" the best. However, I refuse to listen to anyone else's but A.C.'s English version of "Amsterdam" - and don't even mention Klaus Hoffmann's German version. Nothing prepares you for the bit where Anthony goes from parlando to chest voice (in Brel's original it is "dans la chaleur epaisse"). I don't listen to it often, as I want it to make me cry for some time to come - and no-one has to understand that.
Le Gaz is hilarious. Watch his hands. He'd be eighty next year. Unimaginable.






Coffee of the day: Espresso frappuccino. It's getting warmer. Or is it me?

Jan 2: Lust, Caution

Jan 3: Sleuth

Jan 7: Darjeeling Ltd.

Jan 10: Into the Wild

Jan 15: Blindsight

Jan 16: Evening

Jan 18: Elizabeth - The Golden Age

Jan 20: Ayurveda - The Art of Being

Jan 22: 4 months, 3 weeks, 2 days

Jan 24: My Blueberry Nights

Jan 29: The Band's Visit