19 October 2016. R and D at Hampstead Downstairs

This was a thought-provoking seventy minutes. It concerned a widower whose brother introduced to his household a virtually perfect woman robot. This was partly to cheer up the widower but much more to test the robot. Needless to say the widower eventually fell in love with the robot whose final triumph was to demand that the man took off his old wedding ring and give it to her - at which point she shut down and the scientist brother came to say the experiment was over. however, things had progressed to the point that the widower was now grieving anew.
Although the writer perhaps wanted us to consider the difference between a perfect robot and the real thing, what struck me as the most interesting subject was the attributes that make for attraction - apart from the plain physical, the woman was fine-tuned to appear somewhat vulnerable and it was at the point that the widower found her sleeping in his garden that his fate was sealed. A sleeping person supposedly brings out our protective instincts. We had the opportunity to compare the widower's succumbing to the robot with his daughter's somewhat unsuccessful love-life with human boyfriends.
Although there were moments when the writing seemed a bit clunky, I thought this a worthwhile evening with great performances by all the four actors.

17 October 2016. Father Comes Home from the Wars at the Royal Court

I went with some trepidation because reviews had said this evening of three parts could benefit from pruning. In fact I felt engaged throughout the unfolding story of the slave, Hero, deciding in Part 1 whether to go to the civil war with his master; taking part in the war in Part 2; and returning home in Part 3. A further six parts are apparently planned that will take us up to the present time. I would certainly be up to going to see those if they come to pass.
Essentially what I got out of the evening was first of all the story. It is one of Hero betraying his friend Homer in the hope of gaining his freedom (part 1); being paralysed by doubt of whether to desert his master's side in the civil war and join the Yankees (part 2); and betraying his wife Penny in part 3 when he declares he has married another woman while away. Admittedly, she had meantime been carrying on with and got pregnant by Homer.
But beyond the story was the debate about freedom and how that is (not surprisingly) such a fundamental requirement for many humans. As such, I made a clear connection between this work and the Belarus Free Theatre's Burning Doors. It also crept across my mind that this same urge for freedom at whatever cost is one of the motivations behind the Brexit vote. At the same time, Hero seemed also to be consumed by the need to have the relationship with his Master. He was almost afraid of freedom and the play seemed to invite a parallel between this relationship and the one between Hero and his loyal dog.
Overall, then, I found this an absorbing evening and the acting was incredible, earning thoroughly deserved applause.

13 October 2016. Michael Clark Company at the Barbican

This was an amazing evening of three works, all performed in dramatic costumes and against dramatic backdrops. First came 'Satie Studs / Ogives Composite'. The prelude was for all eight members of the Company and featured what seemed extraordinarily difficult moved and poises. Then the four ogives featured different pairs, a trio and a soloist. Next came 'Land', with the music of Patti Smith and a backdrop of projected geometric figures and numbers. After the intermission, the evening closed with 'my mother, my dog and CLOWNS!' to the music of David Bowie and with a guest appearance by Michael Clark himself.
This was a high-energy evening featuring what seemed like incredibly accomplished dancing much of which required parallel synchronisation that seemed almost impossible but which was largely achieved to perfection.