vivdunstan

Belatedly browsing the schedule for Oxonmoot 2025 in Sched, and wondering how anyone with colour blindness can cope with the colour scheme Sched uses to differentiate between in person, hybrid and online events. Luckily not a problem for me, but seems like a core thing Sched should be doing better.

Meanwhile after wondering that, I am now speeding through the Oxonmoot programme, seeing which events I hope to watch. Probably watched after the Oxford event, using the wonderful catch up streaming the con organisers have honed over the years. I am very likely to sleep through the whole live event.

... quite a bit later ...

And that's seemingly 31 events in the Oxonmoot 2025 programme I'm especially interested in and hope to watch, probably after the event. Marvelling as always at the range of talks and events. Phenomenally grateful to the Tolkien Society and Oxonmoot organisers for making this event accessible online.

Getting near to the end of my catchup watch for the Cymera 2025 festival of scifi, fantasy and horror writing in Edinburgh. I had a digital weekend ticket, so had access until this coming weekend to the digital recordings. Didn't get through as many as in some years. But happy with what I've managed to see, considering. And found many new to me authors whose work I want to follow up.

Been too sleepy to watch any more movies. And still haven't got to Rings of Power season 2. Our Babylon 5 rewatch is also currently on hold while we try to catch up with a mass of too much recorded telly in our Sky Q box.

I have been binge watching a lot of the early episodes of Glee. Which though cliched and corny is remarkably watchable. As a musical theatre fan I'm also happily there for all the songs shoehorned in. Martin hasn't strictly been watching it, mainly commenting as he potters around that "That sounds very weird!" But he did say tonight that having sat in for a bit more he can see how the format works, and is starting to appreciate it.

I'm also watching a lot of recorded panels/talks from the recent Cymera 2025 festival in Edinburgh of science fiction, fantasy and horror writing. Have already enjoyed panels including authors John Gwynne and Cymera regular T.L. Huchu. With many more to watch in the next 3 weeks or so while I still have access to them using my purchased digital festival pass.

Bumped this up my viewing list, because the play is going off streaming through National Theatre at Home at the end of this month. It can be viewed before then by people like me who subscribe to the service (I was lucky to nab a reduced price offer before Christmas), or on a short-term rental view.

The play was staged in early 2024 and is a dramatisation of the life of Aneurin 'Nye' Bevan, who spearheaded the launch of the National Health Service in the UK in 1948. The play tells Bevan's life, looking back from his final days in hospital, as sedated he dreams back to his youth as a miner's son in Wales, early political life, his courtship of his wife, Westminster politics of WW2, and then the fight to found the NHS.

The staging is creative, being set largely in a hospital ward, but repurposing the props - including beds - as well as patients and staff to take on the various roles of people Nye encountered in his life. This staging took a little getting used to, and the play runs briskly along. But it certainly grabs the viewer's attention.

The central performance of Michael Sheen as Nye Bevan is riveting, and ably matched by Sharon Small as his Scottish wife and fellow Labour politician Jenny Lee. Their relationship feels vital to the play as a whole, but is surprisingly underdeveloped after their first striking meeting.

The foundation of the NHS happens near the end of the play, and feels surprisingly rushed, and a story only partly told. There is very effective staging of a group of doctors seen above, debating whether to join the new NHS. The toing and froing here between Bevan and the doctors is gripping. But then it's over, the NHS is founded, and the play finishes soon after.

An admirable theatre experience, though I think the play script could have balanced some aspects of the story better. However the performances are gripping, and the staging held my attention throughout. Recommended.

Just finished watching this production, starring Andrew Scott as Garry Essendine, and including in the cast Indira Varma (who, like Scott, won an Olivier award for this role) and Sophie Thompson (also Olivier nominated, but lost to Varma).

This is an old play, written by Noel Coward in the 1930s, centred around a successful actor and his immediate circle of associates. This 2019 version updated it in places, including gender swapping a key character, making it more true to the unspoken feeling but unshowable then truth of the original 1940s production. I think the ending has been tweaked too.

The acting is sparkling, very theatrical and over the top, but works so very well, and keeps you glued for almost 90 minutes. The staging is good too, set in a single room, with clever use of furniture, doors and other props. Often when the front door bell would ring, leading to another disastrous arrival, the audience would laugh out loud. Indeed there was just so much laughter from the audience throughout the whole play.

In the lead role Andrew Scott was superb. Yes over the top and camp for much of the time, but with a sad pathos running underneath, and superb comic timing. The rest of the cast were excellent, especially Varma and Thompson.

Highly recommended viewing. I watched the recorded performance via my National Theatre at Home streaming subscription, which I bought at a greatly reduced cost (thankfully!) just before Christmas.

Continuing streaming old but recent ish theatre plays using the National Theatre at Home subscription I got at a hefty reduction before Christmas. Now on to Noel Coward's Present Laughter starring Andrew Scott, and cleverly gender-swapping in part the original. Andrew Scott won the Best Actor Olivier Award for this.

Finished watching theatre performances "London Tide" and "Prima Facie" using my National Theatre at Home subscription.

The former was a valiant attempt to adapt Charles Dickens's "Our Mutual Friend" into under three hours, but for me it was unsuccessful, stripping out too much of the plot, characters and themes, and changing the ending a lot. Some of the performances were excellent, especially Bella Maclean as Bella Wilfer, Tom Mothersdale as John Rokesmith, and a quite superb young Ellie-May Sheridan as Jenny Wren. But the songs by PJ Harvey and Ben Power were an overlong distraction, generally terribly dirge like, and I'd happily have done without them.

Prime Facie sees an ambitious defence lawyer finds herself on the other side of the court, as a rape victim. It's a one woman play, with Jodie Comer playing the lawyer, and also retelling and acting out the other characters. It is an utterly devastating performance, which is horrific to watch, and I marvel that she managed to play this night after night, without even a full interval in the middle. Unsurprisingly Jodie Comer won both the Olivier and Tony awards for best actress in this role. A quite astonishing 100 minutes of acting.

Finally managed to watch some of the festive talks from Treadwells, which are available to view free online until today. I'm considering taking out a short paid membership to watch some more of their online talks, so it was really good to try out the technology. Also highly amused at the cat interruptions, in the talk about Greek folk tales of goblins at Christmas!

Just signed myself up for a reduced year of National Theatre at Home subscription (I will need to cancel before the end to stop it auto renewing). I'd been considering asking for it for a Christmas present. But just spotted they have a 20% discount on the annual rate running to this Sunday only. So snapped it up. There are quite a few of their plays that I'm keen to watch online. I'm also hoping they'll in due course get Ncuti Gatwa's current one online too. Anyway yes, 20% discount (with a code on the site) until Sunday only. https://www.ntathome.com

I've just finished my marathon viewing of a large bunch of videos on catchup from the Glasgow Worldcon this summer. Watching on catchup I missed out the chance to take part in the live Q&As. And I also found the user interface rather cumbersome, that I had to watch on my laptop, which limited how frequently I could do so. But I still managed to get through quite a large number of talks.

Here are the events I watched, each one about an hour long, typically with 45 main minutes of discussion, followed by 15 minutes of audience Q&A:

• AI and Work - Do Androids Dream of Taking Your Job?
• ENIAC and the Post-War Dawn of the Computer age
• The Horror Out Of Space
• *Scot-ish: The Influence of Scotland on Fantasy Worldbuilding
• It's Life, Jim, but Not as We Know It
• *Iain Banks: Between Genre and the Mainstream
• All the Shakespeare: the Bard's Influence on SFF
• The Untold History of Worldcons
• Inadvisable Rocket Science
• A Fireside Chat with Samantha Béart
• Guest of Honour Interview: Ken MacLeod
• *The Many Legs of SF: Creepy Crawlies in Space
• 50 Years of TTRPGs
• Comics Can Save Your Life
• Faeries in Fantasy Literature

I've marked out above those with asterisks that I especially enjoyed. To pull those out specifically these were:

• Scot-ish: The Influence of Scotland on Fantasy Worldbuilding
• Iain Banks: Between Genre and the Mainstream
• The Many Legs of SF: Creepy Crawlies in Space

The first two of these had obvious Scottish connections, which I unsurprisingly appreciated. But I also found them particularly rewarding in other respects. But I enjoyed something in everything I watched, not just these particular highlight talks.

Martin and I had originally hoped to be at the Glasgow 2024 Worldcon in person. We had low cost attending memberships in place. But things didn't work out that way. However I was able to watch on catchup, and have very much enjoyed that. I was also active in the Discord during the convention, and treated myself to some purchases inspired by the Dealers' Hall.