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 TimeBy 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.
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musesfool
