Rossum’s Universal Robots turned 
out to be a quite different production—four physical actresses, playing about 13 different parts: all were narrators, who juggled the narration between them, all played humans, with great physical characters, all played robots in a good stylised way. The dialogue was robotic, minimal and repeated and there was a great score, quite repetitive and minimal, which changed with the stage of the play, reflecting the tension. The narrators stopped form time to time to explain what was going on (delivered with somewhat lunatic smiling expressions and small, bird-like movements) and to comment on the ‘emotional arc’ that the characters were going through. So a good sense of humour! The play was written by Karel Čapek and I have no idea of how this production by the CU Amateur Dramatic Club compares with the original!
From the ADC web site:
In a dark future, Old Rossum has discovered the secret of life. Now his factory manufactures artificial people. Known as ‘robots’, they toil to ensure that humans live a life of luxury. Once, Helena Glory sought revolution among the robots; now, married to the factory manager, she is complicit in their servitude. But she still dreams of a world where robots are no longer enslaved. And now, as discontent stirs afresh among the robot masses, there is the danger that such a dream will be realised, with devastating consequences for mankind.
First performed in 1921, R.U.R. is the play that invented the word robot. An enduring cautionary tale, it deals with the human desire to dominate and the costs of domination. This dynamic production will find innovative ways to re-tell this classic story, in order to create a new vision of a bleak alternative future.
Sorting out all our photos has made me wish we were still in India!
Saw a good performance tonight of The Madness of George III by Alan Bennett, produced by Cambridge University Players. Ben Kavanagh was a huge hit as the king—he was confident and accomplished. Toby Jones made a good Pitt. There is a Facebook Group for the production.
Some impressive staging: in a scene where the physician was blistering the king with candles, with the Prince Regent standing over. The stage lighting faded, and left the group of actors lit only by the three candles, which were blow out one by one, as the dialogue continued.
From the ADC web site:
George is King of England.
George is sovereign of the world’s greatest commonwealth.
George is also going mad.
So when the King’s illness takes hold, the impatient Prince of Wales – his “fat turd” of a son – begins to scheme for sovereignty. A greasy tangle of ignorant doctors, corrupt politicos, and self-seeking royalty all vie for power. It is left to the unconventional Dr Willis to restore the King to his senses before it is too late.
Witty, poignant, and terrifying by turns, this is one of Alan Bennett’s greatest plays, later an Oscar-winning film. From insightful humour to George’s heart-wrenching relationship with his beloved “Mrs King”, this is a moving and powerful portrayal of a king’s descent into madness. Lavish costumes, the glorious music of Handel, and Cambridge’s finest acting talent come together in this extravagant landmark production.
Pleased to have come back to decent weather. We’ve lugged warm tops round India for our home coming and don’t really need them. It’s a lovely autumn day here.
The trip back was restful and smooth, door to door. We were on the Piccadily Line by the time our flight was due to land, which was a lovely bonus.
I had my garlic masala confiscated before boarding during a bag search—no spices allowed in hand luggage. Unfortunately I had shoved the spices in my camera bag to use up volume, so it must have looked a bit dodgy when the guy discovered it.
All my clothes, my ‘manbag’ and particularly my shoes are in a right state: dusty, dirty and scuffed. Looking forward to a good scrub.
