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I began this as a review, but it got longer and longer and turned into a detailed appraisal. I've decided to post it anyway, but must warn for plot-SPOILERS. It's really one of the best, and sexiest, and most important new plays I've seen so far this year. So - without more ado -

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PROLOGUE, AUTUMN 2025:

I began this review soon after seeing the play in November 2024, but took RATHER a long time to complete it. Nonetheless, I'm posting it here - disgracefully late - just for the record; and because I hear it can now be streamed.

..............

This stars David Tennant in the title role, and Cush Jumbo as Lady Macbeth; and has transferred from the Donmar, for this second run, featuring the exact same cast.

I mention this because I regret very much that we were unable to get tickets to its first run at the much smaller and cosier fringe theatre; and instead had to make-do with the larger, but cramped-and-Victorian West End venue.

This boasts (a) strategically-placed supporting pillars that mingle intrusively with the seating in the auditorium; (b) a raked (rather than tiered) seating area; (c) a leg-room problem between the rows of seats; (d) hole-and-corner internal architecture throughout, meaning odd little staircases, loos in inconvenient corners and inadequate bar areas.

Into this exceeding uncomfortable (and ambience-less) space, we crammed ourselves after ascertaining that - yes - we COULD see the stage in spite of the adjacent pillar. We then had to familiarise ourselves with the intricacies of the ominous-looking headphones assigned to each seat. Which brings me to the actual production; and why (in spite of all the above, plus some rather unacceptable audience behaviour) it turned out to be one of the most unique and thought-provoking interpretations of The Scottish Play that I've ever encountered.

In fact, calling it 'The Scottish Play' sounds very twee, doesn't it? But in this case it indicates no more than the plain truth. Every actor, apart from Cush Jumbo, is Scottish; and the background music and singers come from Gaelic traditions. In addition, many of the actors are also musicians, and actually produce all the musical background live onstage themselves. This aspect is accentuated by those headphones - the whole play is transmitted to the audience through them; thus creating a soundscape, to which - in some scenes - the audience's 'inner eye' must supply any images evoked by the music, the words of the actors, and also by any background noises supplied (eg. birdsong, especially the croaking of ravens).

Because sound is thus prioritised, details presented through the other main sense - sight - are assimilated almost as an afterthought. We hear the voices of actors before we identify them; indeed, sometimes it seems impossible to tell whose mouth is moving from amongst a line of actors - all practically identically dressed in black kilts and grey buttoned jackets - stretching the width of the stage behind a barrier of glass panels at the rear of the plain white raised platform on which the main actions take place. Also, the Witches are voiced-only, and ghost ly manifestations don't appear. This means that the 'prophetic utterances' come direct to our earphones kinda 'on the breeze'.

Therefore, in this production - whilst actions and emotions are all too real, the 'setting' isn't. Cumulatively, this puts a lot of sensory/mental legwork on the audience's imaginative powers. Thus - like it or not - this Macbeth is a salutory experience!

So - how did the actors do? What kind of a fist did Tennant make of the title character?

I think the answer has to be - Dark. We first see him alone on the white stage, sitting cross-legged in front of an enormous silver bowl in which he washes his hands. This is by way of a foreshadowing, since the blood belongs to King Duncan's enemies, not to the king himself.

From this silent, static image, we jump into a lively amount of fighting, during which Macbeth (after a bout with an anatagonist), is literally carried away by Ross - played by Moyo Akande (no mean feat for the redoubtable actress); and from thence, the encounter with the (invisible) witches and their prophecy.

Cush Jumbo's Lady Macbeth, dressed throughout in pure white (surely ironic!) duly incites her husband to regicide; and in truth he doesn't take a lot of persuading (despite the invisible dagger). This Macbeth is notably savage later, when sending assassins after Banqo and Lady Macduff; and on the final battlefield when he brutalises a (very) Young Siward before killing him.

Amongst the rest of the ensemble, most notable are Noof Ousellam as Macduff, Ros Watt as Malcolm, and a very busy Raffi Phillips (one of three kids) trebbling-up Macduff's son, Fleance and Young Siward. There's also Jatinder Singh Randhawa as the Porter, who inappropriately breaks the fourth wall with an ill-advised music-hall-style harangue from a dress-circle seat.

One final, lovely note (literally):

At the finale, when the hurly-burley's done, the hitherto-darkened back of the stage behind the glass panels is suddenly suffused with soft light, showing a pastoral scene with trees. The Gaelic singer, Kathleen MacInnes, begins the haunting strains of Pil-li-li-liu, an ancient Gaelic interpretation of the song of the redwing. Peace has come; and the ravens are banished.

UPDATE:

We subsequently also saw the cinema version of Tennant's Macbeth, which had been filmed at the Donmar. It had clearly been a very different experience for the audience there - much less 'distanced' visually. We wished even more that we'd been there to hear/see it in its original home. BUT - like most films,it lacks the immediacy and physicality of a live performance. The sound-experience in the cinema was adequate (we had surround-sound) but not as intimate as the live one.

Chapter 6 now posted:

https://archiveofourown.org/works/57005032/chapters/153783871

So — my clothing-style (for going-out anyway) has been set for many years. My go-to style is the Scandi-folk-chic of Gudrun Sjøden.

So — Gudrun's shop in London has been closed for refurbishment during July; but I got an invite to a re-opening event on Saturday, plus a chance to see the new autumn collection.

Central London in August is rammed (and that's BEFORE you look through to Trafalgar Square and see the regular PEACEFUL protest — more like a festival — taking place for Gaza). So I fought my way up St Martin's Lane, bypassing the regular matinee queue at the Duke of York for THAT (Spiderman) Romeo, and then The Noel Coward where we shall visit for 'Slave Play' on Wednesday.

The smallish shop was rammed too. I managed to grab the couple of things I wanted for the autumn (GOLD velour trousers, my dears! — watch out for me in October), and made it to checkout, where a group of people were blocking the way taking photos.

It was only whilst involved in the intricacies of paying-up that I realised just WHO was being photographed; and ... that they were handing her my purchases to give to me.

Yup, that was the Founder in person. Gudrun herself — serving me!

Naturally I was dead embarrassing in my fulsomeness; which Gudrun took with cool Scandi stoicism.

After that, I hastily consumed a cold fizzy elderflower drink; and left in a daze. Total time expended on the experience — about 25 minutes.

BBC has finally made the following announcement:

Vienna Blood season 4 has at last been given a release date by the BBC — the new series will begin on BBC Two on Sunday, August 4 at 9 pm and it will be available on iPlayer.

A brief description of the series - which comprises one storyline throughout - can be found here:
https://endorproductions.co.uk/endorproductions/show-item/vienna-blood-season-4/

Chapter 5 now posted.

https://archiveofourown.org/works/57005032/chapters/144966382

1. It's actually not wet, and not too cold today. Rah!

2. Sir Keir Starmer; and the absolutely delightful surprise that is Lady Victoria Starmer - transcendent looks and an immaculate dress-sense.

3. FOOTBALL TALK WARNING
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4. BUT, BEST OF ALL
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So that's why I'm cheerful today.

TOMORROW, however, the world will end. We have the plumber coming to drain our radiators and replace the valves in all eight of them. The accumulated junk of centuries will have to be moved for them to access each radiator. Will we survive? We can only hope. We've book dental checkups next week in the blind faith that we will.

Think of us tenderly, my friends, for the day of doom is upon us!

I'm posting the opening chapters of this rather experimental work on AO3. Read it fast, folks - AO3 is down for maintenance on Monday!

https://archiveofourown.org/works/57005032/chapters/144966382

I posted The True Tale of Young Alvin and Wicked Lord Farthington on LJ in 2010, but never uploaded it anywhere else. It recently came back to mind (as old songs do ...), so after singing it in the bath for a while, I decided to revive the fic and post it 'officially' on AO3.

So here's the link. Enjoy!

https://archiveofourown.org/works/53946640/chapters/136552258

Part 2

Johann Strauß II
Overture to the Operetta "Waldmeister"
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Johann Strauß II
Ischler Walzer. Nachgelassener Walzer Nr. 2
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Johann Strauß II
Nachtigall-Polka, op. 222
( Read more... )

Eduard Strauß
Die Hochquelle. Polka mazur, op. 114
( Read more... )

Johann Strauß II
Neue Pizzicato-Polka. op. 449
( Read more... )

Josef Hellmesberger (Sohn)
Estudiantina-Polka aus dem Ballett "Die Perle von Iberien"
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Carl Michael Ziehrer
Wiener Bürger. Walzer, op. 419
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Anton Bruckner
Quadrille, WAB 121 (Orchestr. W. Dörner)
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Hans Christian Lumbye
Glædeligt Nytaar! Galopp
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Josef Strauß
Delirien (Deliriums), Waltz, op. 212
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And there ends the programme. HOWEVER - where would we be without the Encores:

Polka Schnell by Edouard

An der schönen blauen Donau - possibly Johann II's greatest work?

Radetzky March - Johann I's sole, unmatchable contribution to tonight.

The interval is dedicated to Anton Bruckner, since it is his 200th anniversary this year.

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I'm always very happy to see these interval pieces. They take us to many of the places we've visited ourselves over vacations.

Welcome to 2024; and my annual resumé of the New Year concert at the Musikverein with the Vienna Philharmonic.

Christian Thielemann conducts again this year; and as per usual, Petroc Trelawney introduces for the Beeb.

PART 1

Karl Komzák
Erzherzog Albrecht-Marsch, op. 136
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Johann Strauß II
Figaro-Polka. Polka française, op. 320
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Josef Hellmesberger (Sohn)
Für die ganze Welt. Walzer
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Eduard Strauß
Ohne Bremse. Polka schnell, op. 238
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And, with that - Part 1 ends.

Continuing from previous post (https://grondfic.dreamwidth.org/39673.html)

Fifth Reading
The Oxen (Thomas Hardy)
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In the Bleak Midwinter (C. Rossetti)
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God Rest you Merry, Gentlemen
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Sixth Reading
(Matthew - Wise Men)
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Look up, Sweet Babe
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Tomorrow shall be our Dancing Day
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Seventh Reading
(John - In the beginning was the Word)
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O Magnum Mysterium
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Eighth Reading
Mistletoe (Walter de la Mere)
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O Come all ye Faithful
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Prayer and Blessing

Hark the Herald Angels Sing
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Organ Voluntary
Vom Himmel Hoch (J S Bach)
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This year, I felt that the format and some of the contents were both becoming stale. The over-reliance on Rutter may be part of the reason. There wasn't much in the way of carols and Christmas music from beyond these shores. I seem to remember discovering Arvo Part and others, via Carols from King's some years ago.

Conversely, with the readings minimising the Bible(!) this year, some rather commonplace verse appears instead - the third one was cringe-making.

Or maybe I'm just getting old and agnostic.

It's about time I re-began actually posting stuff on here; and what better place to start than King's College Cambridge on Christmas Eve.

As per usual, we begin with the safe old processional -

Once in Royal David's City
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Bidding prayer
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In the stillness of a Church (Katrina Shepherd/Sally Beamish)
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First Reading
I Saw a Stable (Mary Elizabeth Coleridge)
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Child in a Manger

Words by John Rutter, but he nicked the tune from 'Morning has Broken'.

A Great and Mighty Wonder

Again - tune of 'es ist ein Ros entsprungen' is being 'repurposed' (with another unnecessary descant)

Second Reading
(Luke - nativity. King James version)
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The Bee Carol (Carol Ann Duffy/Merrick)
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Third Reading
On Christmas (Marion Strobel)
( Read more... )

The First Nowell
( Read more... )

All Bells in Paradise (John Rutter)
( Read more... )

Fourth Reading
(Luke - Shepherds)
( Read more... )

Good Christian Men Rejoice
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Silent Night
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To be continued ....

As promised (here - https://grondfic.dreamwidth.org/38467.html) behold the POST-visit review of one of the most frequently seen plays in the Bardic canon.

Well, I mentioned diversity in this production – and Whoah! We got it in spadefulls. Even the casting was diverse, comprising gender-blind, gender-changed and doesn’t-matter, who-cares parts.

Thus, Nick Bottom becomes ‘Nicola B’tome’ in a character gender-change, whilst the other members of the Mechanicals - all played by female-identifying actors - are gender-nonspecific (ie no-one mentions the intended gender-identity of each character, but some of them act-female, if I can put it that way without causing any offence!). Egeus is (possibly) cast gender-blind (ie the character remains male, the actor identifies as female). The third category encompasses the attendant-fairies, who (cf. Puck below!) might not be ‘gendered’ at all, having originated in the forest like plants.

Just for information:
Amongst the cast generally, two actors possibly identify as they; two possibly as male; and the rest possibly as female.

In addition the Globe warns for ableism within the play, which is necessary, because the role of Hermia is played by Francesca Mills, who has achondroplasia (a form of dwarfism).

Sooooo – that’s all by way of introduction really. On now, to the review!

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This has been a week for the granting of outdated ennoblements. Passing swiftly over the midweek events ~~in case anyone remembers my erstwhile embarrassing crush-of-shame on Sir Mogg~~, we now come to the King's inaugural Birthday Honours List.

Well, firstly, I have to say - it's a more even-handed and generous list than that of the once-aspiring 'World-King'. I feel that I'm honour-bound to add, however, that N*d*n* D*rr**s doesn't appear on this one either. As per normal, most walks-of-life are represented, and if anyone's interested - here's The Guardian's take on it:
https://www.theguardian.com/uk-news/2023/jun/16/martin-amis-ian-mcewan-and-anna-wintour-honoured-in-kings-birthday-list

But - once again - there's one name absent amongst the acting honours that I look for, time after time in vain. That of ROGER ALLAM.

He's best-known on tv as DCI Fred Thursday, young Morse's boss in Endeavour. Its triumphant final series earlier this year would have been a perfect opportunity for some ennoblement (Anton Lesser might have been considered too!), but clearly Buckingham Palace doesn't watch the same tv as us plebs.

It doesn't watch the same plays either! We've seen Allam six times on stage, starting in 1988; therefore we've experienced a wide range of his talents and development as an actor.

So here's the list with a few comments or links to reviews:
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I hope I've made my case for a knighthood for this highly versatile and well-loved actor. (And that's even without mentioning that he was the original Javert when Les Mis opened in 1985!) Please, someone, forward this entry to Buckingham Palace and No. 10!

Last year, I kinda imported The Chronicles of Guy of Gisburne from my

arthurrat LJ site, for reasons explained here -

https://grondfic.dreamwidth.org/34000.html

The link also includes an episode from the Chronicles that is set in Outremer. I'm now continuing this storyline with a new episode, wherein Guy entertains a rather unusual guest in Nasir's absence.

THE BADROULBADOUR OPTION
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Just for a change, I’m about to review a play I haven’t yet seen. We’re booked in a couple of weeks (RMT/ASLEF willing). So here goes, with ....

A MIDSUMMER NIGHT’S DREAM (Shakespeare’s Globe)
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(Note to Micks Lynch (RMT) and Whelan (ASLEF)– I’ve calculated VERY carefully when booking this theatre visit, that we’re within the Sacred Fortnight’s Grace time that you give us between strike days. PLEASE don’t prove me wrong, and I’ll continue to support your efforts to get justice for your members!)

Hurrah! Not only did I write a new fic - I actually completed it - yays! Here it is:

https://archiveofourown.org/works/46988626/chapters/118372981

I've finally begun to upload my Vienna Blood fic. Chapter 1 (of 2) up on AO3:

https://archiveofourown.org/works/46988626/chapters/118372981

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grondfic

November 2025

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Page Summary

Review/Essay: Born with Teeth (Wyndham's Theatre)
Review: Macbeth (Harold Pinter Theatre, previously at the Donmar)
FIC: To the Uttermost West (Robin of Sherwood/ Chinese folk religion crossover) New Chapter
How my world got slightly shattered on Saturday.
Further to 'Reasons to be Cheerful'
FIC: To the Uttermost West (Robin of Sherwood/ Chinese folk religion crossover) New Chapter
Reasons to be cheerful (in the midst of a cold, wet summer)
FIC: To the Uttermost West (Robin of Sherwood/ Chinese folk religion crossover)
Young Alvin an old fic revived (and posted on AO3)
New Year's Concert Vienna 2024. Part 2
New Year's Concert Vienna 2024. Intermission entertainment for BBC viewers
New Year's Concert Vienna 2024. Part 1
CAROLS FROM KING'S 2023; A COMMENTARY. PART 2
Carols From King's 2023; a commentary. Part 1
PLAY REVIEW: A MIDSUMMER NIGHT'S DREAM: Shakespeare's Globe
A RANT! - Why no knighthood for Fred Thursday??
(RE)INTRODUCING ARTHURRAT: ONGOING ROBIN OF SHERWOOD FIC: Continued
A PRE-REVIEW; wherein I write a review before I've seen the play
Vienna Blood fic: completed
Hurrah, Hurrah! Some creative work at last

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