By Christine Swan

As autumn draws in, I reflect on the extraordinary summer that has recently passed. Warm weather and sunshine was in abundance, which was conducive to outdoor theatre performances, which I enjoyed a number of.

My July viewing started with a performance of William Shakespeare’s A Midsummer Night’s Dream at the Regent’s Park Open Air Theatre. It is always a gamble when booking several months in advance, that the weather will be suitable but, the recent summer really was a sure-fire hit. I walked through Regent’s Park in the heat of the late afternoon and refreshed myself with one of the theatre’s fancy botanical cocktails prior to the performance. I have been blessed with wonderful weather for my last few visits to one of my favourite theatres in London, and tonight was no exception. The plain set opened to reveal different scenes and, as nature’s natural lighting changes the mood, the magical faerie forest came to life. In this classic comedy, there were some modern twists but not so much to change the outcome. One magical natural addition were Tiger Moths dancing in front of the stage lights.

Regent’s Park Open Air Theatre – set for A Midsummer Night’s Dream

Regent’s Park Open Air Theatre really is unique. I first visited as a student and have been captivated ever since. If you have never been, do try to experience it at least once, it is very special.

After the performance, I walked back through the park at the end of the performance, through the illuminated trees, following the path with the rest of the audience, winding our processional way towards Baker Street tube station.

The walk back through Regent’s Park is part of the experience

My second July performance was the RSC’s production of Cyrano de Bergerac, then showing in the West End. I had attempted to book a restaurant in the morning of the performance for my companion and I by walking into a well-known pizza joint earlier in the day. “Can you take a booking for tonight please?” I asked a man wearing a matelot top and a jaunty hat. “No, but I’ll ask my colleague”, was the response. The colleague came and announced that she was new and didn’t have a code to access the system to take a booking, and why didn’t I just do it online? “But, I’m here,” I said, “Is there really nobody who can book a table for tonight?”. Of course the answer was “No”, followed by the suggestion to “just turn up and see”. In the West End on Saturday, if you just turn up and see, you will only be faced with a full restaurant and an empty stomach.

I relented and booked online. Why is it now so difficult? Why can’t you book a table in person? Maybe I’m old and difficult but I fleetingly reflected on one experience when I had walked into an Italian restaurant on a Saturday lunchtime to book and had been faced with a packed room of Chelsea football club supporters. I couldn’t believe that the host could possibly have remembered my name or the time of my arrival, but he did. A mental note was all he needed to make the booking and, when I turned up in the evening, my table was reserved – semplice e facile!

When we arrived at the West End restaurant, we were directed to the basement area, our waiter was none other than the codeless new girl. I felt just a little guilty for my earlier huffing and puffing but then less so after our drinks order was incorrect and our food offered to another table.

Fortunately, the Noel Coward Theatre was just a very short walk away. I was familiar with the story of Cyrano but my companion wasn’t. Adrian Lester plays our hero with the large nose, who loves Roxanne but is too shy to tell her. Christian falls in love with Roxanne but is hopeless with words to tell her. We know that Cyrano writes from his own true heart but can never speak the words himself.

The stage is set for Cyrano de Bergerac

Christian is killed and Roxanne mourns. When Cyrano is attacked and eventually dies, his true feelings are revealed. Tragic, heartbreaking but a brilliant production. Tears and cheers all round.

August brought more fine weather, with warm temperatures and clear blue skies. I treated myself to another dose of the Bard in the form of the Globe Theatre’s production of As You Like It. I have already reviewed this performance so I will not do so again here, other than to say – impressive!

At the Globe Theatre for As You Like It

As part of my weekend in London, I had also booked an al fresco performance of a Jeeves and Wooster caper called Stiff Upper Lip, performed in the grounds of St Paul’s Covent Garden – the Actors’ Church. It was another fine evening and when I arrived a small fox was on duty checking the seating arrangements prior to curtain up, or rather, curtain aside. He settled down for a relaxing sleep in the late summer fading light.

St Paul’s Covent Garden’s picture-perfect outdoor performance space

The audience were seated on park benches and refreshments supplied courtesy of a vintage van, serving all manner of delights. I settled down with a warming Earl Grey and thoroughly enjoyed this thoroughly British hoot, with chases, tumbles, audience participation, and the challenge of a small cast, playing multiple characters. I took my hat off to the exceedingly hard working quartet. The pre-autumnal chill came up from the earth beneath my feet, and I placed my light coat over my legs. Summer was coming to an end. The city soaks up and then offers out its heat in the evening, but we were all reminded that the natural world is far more efficient at managing its microclimate. What a wonderful little oasis St Paul’s garden is!

A perfectly compact stage for the night’s performance

I did squeeze in one more outdoor performance at the start of September in the grounds of a local stately home. This time, I was prepared with thermal socks, a warm coat, with layers beneath. I was not in the least cold and settled in to enjoy a performance of Shakespeare’s Romeo and Juliet. One member of the cast was indisposed resulting in Mercutio also playing Lady Capulet, unfortunately referring to a script and, after dark, wearing a neck torch. I understand that small companies cannot afford understudies but it did impact on my enjoyment, even though MC assured me that it wouldn’t. The set was effective, and the setting stunning. It is also a play that I love dearly, and, for the most part, well-executed.

Nature’s lighting effects take centre stage

The following weekend I watched Jane Eyre the Musical at the Southwark Elephant theatre. I enjoyed this production enormously. I had read a couple of reviews prior to visiting, which is something that I try to avoid doing. They were not complimentary, but I went with an open mind. The audience was mostly female and there was an element of Bronte fandom. To lose oneself in a theatrical performance is a real treat and Jane Eyre fitted the bill perfectly – excellent!

The stage and set of Jane Eyre provides plenty of space for dancing. The projected backdrop provided scenery

My final visit was to the Southwark Playhouse, just down the road, for a performance of 20,000 Streets Under the Sky. The performance left myself and my companion with questions. Fortunately, chatting in the bar with some of the cast afterwards. It was an absolute treat to chat theatre with such a friendly bunch, including some very well-known faces. A play that leaves you thinking is always an interesting prospect.

The simple set of 20,000 Streets Under the Sky at the Southwark Playhouse

Summer is now a faded memory and the year has moved into autumn. Many theatres are advertising their new season productions and especially, in the run up to Christmas. I have theatre bookings organised up to January next year. You can sleep safe in the knowledge that this story is to be continued…….