Ten years ago, my flatmates and I had an ongoing conversation about doing a horror production of Hamlet where the Ghost really was a devil. In Act Two, Hamlet wonders if the Ghost is an evil spirit preying on his depression:
The spirit that I have seen
May be a devil: and the devil hath power
To assume a pleasing shape: yea, and perhaps
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me.
and we thought it could be fun to see what would happen if he was right to wonder that.
I went to Paris for New Year’s Eve (yeah, get me) and it was really impressive how nice Eurostar is to take, and how weirdly helpful the staff always are. Even more impressive right now, because a lot of things are making their jobs harder and none of it is really their fault.
Eurostar is the international high-speed train service that runs from London (UK) through the Channel Tunnel directly to France, Belgium and soon the Netherlands (an Amsterdam service starts this year). For now, all these countries are in the European Union, which has free movement for all citizens. Until something changes – like one of those countries officially leaving the EU – any citizen of a country with a Eurostar station has the right to travel freely to any other country with a Eurostar station. (This is different than the Schengen zone, which has free movement for all people, citizens or not; the UK is not part of Schengen, and may stop non-EU citizens from entering the UK via the EU if it wants to.)
One of Eurostar’s biggest selling points over low-cost airlines, its main rival, is shorter overall journey times. For example, their Flying vs Eurostar infographic, which shows “city centre to city centre” times: they argue that looking at just the flight time disguises the time and expense of getting to and from the airport, and having to get to the airport much earlier than the advertised flight time. Eurostar, which runs to city centre stations like the Gare du Nord and Brussels Midi, wants to give passengers a “turn up and board” arrival time as close to the scheduled departure time as possible, so that Eurostar feels as much as possible like a ‘normal’ train, where you can run and jump on basically right up until the doors close. For its highest spending passengers, Business Premier and Carte Blanche, Eurostar promotes a pre-departure time of just 10 minutes.
(nb: most of this was written on the train on New Year’s Eve, so “last night” = Dec 30th.)
In 2016 I saw 41 plays (and three staged readings, which were interesting but it feels unfair to put in with the rest because they’re not supposed to be fully realised pieces of theatre). Drunk Theatre stalwart Louisa and I tried to clear out the bottle-ends in the booze cabinet before the New Year, and carried out the immense task of force-ranking all our 2016 plays with Post-It notes. (for the record if you are also looking to clear out your drinks bottles, the “Monkey Gland”, a 1920s? cocktail involving grenadine and absinthe, was surprisingly all right.)
I’m always up for a Hedda Gabler, it’s just such a fun and well put together play. “Didn’t they just do one?” a coworker said when I mentioned it. “At the Old Vic? Sheridan Smith?” Yes they did and it was great so shut up. This one at the National Theatre stars Ruth Wilson (off the TV apparently, I haven’t seen her shows but she was great and sharp as Hedda) and is directed by Ivo van Hove, the so-hot-right-now avant-garde director who’s been packing out all the London theatres: the National, the Young Vic, the Barbican, even sharing the big box out the back of King’s Cross with the Donmar. As far as I can tell from production photos and reviews, this Hedda is a straight revival of his 2004 production at the New York Theatre Workshop – the same set and staging, down to the placement of the piano, and the same ‘shock moments’ (of which more later).
Oh my goodness I have been missing this kind of theatre, and I didn’t even realise until I went. A small white-painted wood-floored gallery under a railway arch in south London with one toilet and the “bar” a table run by an artistic director selling crisps and plastic cups of bag-in-a-box wine, and a collaborative poem about the project hanging on the wall, and gosh when I walked in I just felt a wave of artistic comfort and joy.
“Margaret of Anjou: a new play by Shakespeare” is taken from four of Shakespeare’s plays: Henry VI parts 1, 2, and 3, and Richard III. Prof. Liz Schafer and dramaturg Philippa Kelly created a ‘new’ play about the character Margaret of Anjou – who is in all four plays, and is the character with the most lines in Shakespeare – out of Shakespeare’s text.
These advertisements were in every train station I passed through last week in Nord-pas-de-Calais, the area of Hauts-de-France (Upper France) known for Agincourt, the Somme battlefields, and the Calais refugee camp. The ads are paid for by the Hauts-de-France regional government, and tell you exactly what the European Union has contributed to the area: €219 million for science and research, €100 million for business, €59 million for youth training. Even on the train departure board at Arras, the regional capital, there was a little sticker explaining “Europe engages [or ‘commits to’] Nord-pas-de-Calais”. I looked up the slogan later and the ads are part of an EU awareness campaign, “Mon Europe, Mon Quotidien” (“My Europe, My Everyday”), that the Hauts-de-France region launched today, 29 October: every Saturday, the campaign will go to a different town or city in the region, set up a stand and tell people about what the EU has done for their area.
I have been fantasising about how the EU referendum in the UK might have gone if local governments in England and Wales had run campaigns like this. I’m not even fantasising about a magically different result (j/k of course I am), but just about what it would have been like to have this kind of conversation, actually talking about the pros and cons of the EU, instead of vague gesturing about the NHS and business, and racist incitement about immigration.
Sometimes in the UK you’ll see a small EU flag on something that has received European funding. But I have never seen signs like this, and during the referendum, the Remain campaign never gave a clear, loud statement about the benefits of the EU instead of the risk of leaving it. The Remain message that I heard most was “It will be bad for businesses and London banks” – because post-austerity that’s really the message that resonates with people – and “Immigrants: sometimes not that bad really? (although obviously we all want less of them)”. Seeing the “Mon Europe, Mon Quotidien” campaign made me realise how frightened and small-c conservative the Remain campaign came across, and how far the conversation in England has gone away from talking about reality, instead of wishes: I have heard nothing from the Westminster government either before or since the referendum about EU science funding, community development funding, social funding… (I say England and Westminster because the Scottish government has been much more on top of this, and I’m not aware enough of the conversation in Wales and Northern Ireland to be able to say.)