If anything was ever going to heal me during this pandemic, it has to involve theatre.
Many years ago, I worked in professional theatre, and there was never a day when it ever felt like going to work; it was hard work, it had its moments, but it was fun.
Joining a different profession, theatre remained an important part of my life, creating lasting memories, firing deep discussion, lifting the soul and a reliable MH fix. I’m a sucker for the National Theatre, not only my favourite building – yep, I like a bit of Brutalism – but the best production values anywhere. Objectively, you expect this of a National Theatre, and it more than does the job; even if I’m not mad about the play, the staging or the lighting and, of course, the acting triumph. I can never book too many shows there, and am not averse to seeing something really special twice (or, in the case of Follies, several times).
And, usually, I see lots of things in the west end too, usually two shows a week. The Tricyle in Kilburn (I still can’t get used to calling it the Kiln) is another production house with top class production values. The last thing I saw before the pandemic was Pass Over. It would be the last thing I saw for 18 months as I reluctantly decided against attending Seven Streams of the River Ota at the National Theatre as the pandemic was quite full on then.
So, today, and booked almost two years ago, a year later than it was booked for, Carousel! The Open Air Theatre in Regent’s Park is a lush summer venue, fabulous if you get a nice day, probably testing of true grit if it’s chucking it down with rain. Today was dry, the threat of rain was there though, but held off.
A picnic in Queen Mary’s Rose Garden first, then into the Covid safe surroundings of the Open Air Theatre. Fifth row, centre, can’t get much better than that really. However, a restricted view seat behind a tree would have been almost as exciting. Theatre. Theatre. Proper live theatre. Dead exciting.
I sent my lighting designer drama school peer a photo of the set, and said how exciting it was to hear the orchestra tuning up. It’s a sound I take for granted, but I savoured it today. I felt emotional. Holding back some tears emotional.


And, then it started, The Carousel Waltz. It’s one of Rodgers and Hammerstein’s masterpieces, using an overture that reeks of fairground, toffee apples and candy floss (or cotton candy as they call it in America). Wonderful performances as we meet the characters and sense the buzz of the fairground. Proper tears now. Tears for joy. Tears for a pandemic. Tears to see the cast on stage. Tears for being alive.
It was a sterling production, emphasising the darker parts of the original production’s domestic violence and abuse themes in a modern interpretation.
But, this isn’t a review. This is about the joy of theatre, the joy of live theatre (streamed theatre is a second best, but this is a first best), the privilege of being able to see such things in London, the worthwhile wait of exactly a year to see this postponed performance, seeing some of London’s finest performers and techies doing their stuff. And some collared doves from the park trying to upstage the actors by flying onto the stage and going for a stroll during a big number.
I’m just going to listen to a recording of Carousel, think I’ll listen to the original, but the very familiar National Theatre revival recording is tempting. Joanna Riding played Julie Jordan at the National, winning an Olivier Award. Today she plays Nettie Fowler, now having earned the two best songs across the years, June is Busting Out All Over and You’ll Never Walk Alone.
So, that’s theatre back on my radar. Lots booked at the National Theatre for the new season and some things in Kilburn too. And, life feels a bit happier
At the end, the sun came out, so we sat in the Rose Garden to catch a few rays, drink tea and enjoy the best of London.



















There is nothing quite as refreshing as a drinking coconut, cold as cold could be, a straw size hole chunked out of the tender coconut by dexterous use of an ancient looking machete. 






What a cute, dinky station it is. Lots of ivory painted wrought ironwork supporting the platform shelter. It looked very ye olde worlde at 6pm on a cold, dark, wet December evening, not modern buzzing London. And there’s a passenger lift too to save the knees from the evils of the staircase down to pavement level.Camden Road is still a bit crazy though; the bus stop towards Holloway was busy and not as gentrified as the newspapers would try to have us believe north London to be. You can tell it’s north London as there’s a background smell of kebab or grilled pitta bread, and it’s heartening to see that there’s still a kebab shop here. The long established painting and decorating shop is still here too, selling everything a jobbing painter might need. Of course, the area is much smarter now and I suspect far fewer tradesmen live there, but the shop prospers.
Crossing the road at the traffic lights towards the tube station, and I’m astonished to see that the boot shop is still there. When my parents lived in Highgate, I spent many an evening waiting for the 134 there. I’d quite forgotten about the boot shop. Think DMs and DM homage boots. And a brightly lit window.
Up Chalk Farm Road, the Electric Ballroom sign looks the same. Did there used to be as many security people there though? Maybe I just never noticed them back in the day.Chalk Farm Road is Tourist Central. It is also Goth Central. And Londoners Central. The shops all subscribe to the tourist is always right and offer all the London themed keyrings, snow globes and other tourist knock you could think of. And, the road reeks of weed. Like really reeks. I don’t get offered weed for sale today, but a couple of people offer me either CDs or DVDs for sale. I obviously look to old to be a streamer.
What used to be the stables market and old warehousing is now called Camden Market, and it looks quite good too, even in the dark. Dingwalls is no longer the rough and ready venue that it used to be. Le Routier restaurant next door seems to have gone the way of history. I like the cobbles, especially in the dark and when wet. They glisten.
Further up the road to The Roundhouse, not for the very posh corporate Christmas party that is taking over the the main theatre, but to the studio space for for the launch of an anthology of Argentinian contemporary plays, translated by British translators, now just waiting for producers and theatre companies to pick them up. We hear short extracts and a fascinating Q&A before a glass of fine Malbec courtesy of the Argentinian Embassy.I get the tube home. The Northern Line tube announcements are all very posh and RP. We do not get this voice-over artist for the District line, but, thereagain, we are not near Hampstead. Damn. I forget that it is a few Fridays before Christmas and it’s office party time so the tube is packed and the change onto the Central Line at Bank sees trains busier than the rush hour. Home in one piece, eventually, after a bit of time travel in Camden.








