Theater in London’s West End, The production of the 2017 Pulitzer Prize winner, “Sweat” and accessibility issues in the Gielgud Theatre

I love London. My dad grew up there and my family spent so much time there during summer vacations — not to mention my semester at London’s Royal College of Art — that I feel it’s my second home. So, growing up we did most of the MAIN tourist things… so when I go there I tend not to aim towards those sorts of things any more than I would in home Chicago. For me, London is and always has been about theater! (My mom loved theater so much that she often took us to two shows a day, and occasionally crammed in three). One of the many shows I saw this year was, Sweat (2017, Pulitzer Prize Winner) staring Martha Plimpton of the Carradine theatrical royalty family (getting to see your favorite actors live on stage is always an added treat).


So… I’ve said this before and I’m going to say it again … first rule of London theater is, as taught to me by my parents… unless there’s a specific show for which you’re willing to pay full price, you’ll want to start out by going to the Tkts Booth in Leicester Square…. London has a very competitive theater scene, just like New York, so anything showing in a major theater is most likely very good. On the way there you’ll pass any number of store front ticket booths advertising them as THE half price ticket booth… keep walking. None of them are. Their What’s on Sale screen, behind me in the picture above, will tell you what tickets they have that is on deep discounts (usually 30 to 50% off). You can also buy tickets for two days out… so tonight, tomorrow and the next day… but not farther out than that. You can check their website to see what’s available, but you can only buy the tickets at their booth. Half price tickets for the top shows are ONLY available either at the box office doors of each individual theater, where you stand in line on the day of up to time of seating, but with no assurance of actually getting a seat … or here at the TXTS booth. (How do you want to spend your vacation time?) Personally I haven’t got that much time. This way is easier, and profits from the ticket sales at this venue rather (than ending up in corporate or private pockets) go towards the Society Of London Theatre, which supports the theater community in a myriad of ways. (So you can feel good about your purchase). This show for instance had great reviews, but I was able to get the tickets at a discounted price, even buying them 2 days in advance.

Sweat: The Play — GREAT play, but in a bad theater space for anyone with mobility or hearing impairments 

UNADJUSTEDNONRAW_thumb_2f27.jpgSweat, the winner of the 2017 Pulitzer Prize for Drama, was my first non-musical this trip. Its a fictional play based around economic dynamics in the town of Reading, Pennsylvania in 2011, when the United States Census Bureau, declared that because of the loss of heavy industry to offshoring, it had become one of the poorest cities in America. It is a show that is both funny, and highly disturbing.


I was looking forward to seeing it in large part because it was a chance to see Martha Plimpton, live on stage. I’d had the good luck to meet her (as in have an actual conversation with, back in 2006 while sitting on a tram at Disneyland waiting to go back to the parking structure — YUP, once again at a Disney park, there’s a trend here), and seriously enjoyed a lot of her large and small screen roles, but this was going to be the first time to see her on stage. That said, she did NOT let me down… granted, its the sort of role she tends to get cast into fairly regularly, a course working class girl or woman — so she’s had plenty of practice. This typecasting is ironic as she’s third generation acting royalty; her paternal grandfather was one of the best known character actors in Hollywood starting back in the 1930’s, the GREAT John Carradine. He was one of John Ford‘s go to actors, but was also in classics like the Grapes of Wrath and the Ten Commandments). Her dad is Keith Carradine (whose IMDB of roles in major films is as long as your arm) even those she chooses to go by the less known last name of her mother,  Shelley Plimpton (who is also a well respected actress in her own right) — probably to be better able to try to stand on her own merits. And, even her uncles, Robert Carradine, who was best known for his  Revenge of the Nerds series of movies, and the late David Carradine, who was best known for his lead role in the 1970’s TV classic Kung Fu, (and his ignominious death by autoerotic asphyxiation in a Bangkok hotel room’s closet in 2009) are/were both well known working actors. Even her aunt, Ever Carradine, is one of those actresses you instantly recognize even if you can not name her, and currently can be seen in Hulu’s major hit, The Handmaid’s TaleSo, like I said, Acting royalty.


I won’t spoil the play for you other than to say its got the kind of juicy roles in it actors love, and even though I tend to prefer comedies or musicals over serious plays with a political message, and a really disturbing ending.  I genuinely enjoyed and was moved by the performances. I was lucky because the play (which has bounced around a bit) was in the middle of a six week scheduled run at the Gielgud Theatre in London’s West End. Even though it was was very well reviewed, I suppose its serious nature turned away most London tourists, and as such I was able to get pretty good tickets at a discount. HOWEVER when I got there I found that the salesperson had screwed up a bit… I’m always clear about wanting to be in the stalls in FRONT of the balcony-overhang. When I got there I found I was well behind it, towards the back of the stalls. I HATE this because there’s almost always a slight reverb effect as the actors voices bounce off the walls, and you often end up listening to sound from speakers in addition to the actual sound from them… so I complained (the advantage of arriving to the theater early). I was HOPING they’d move me up in the stalls (there were plenty of better empty seats) but the Manager said if I wanted I could move to the balcony where they had some open first row tickets (at same price point), so I did that.

Two things about the theater the play was being shown in … Firstly… like a lot of old things in London, while the Gielgud is very beautiful, it’s also a complete disaster for anyone with severe mobility issues. While the UK has disability rights legislation on the books, implementing them has been a major issue as a result of the historic nature of most of the buildings. This one, for instance, was built back in 1906. It was originally called the Hicks theater, and then the Globe, before receiving its current name in 1994.


There are stairs everywhere, not an elevator in sight (there might be some backstage)… and they’ve NOT installed ANY ramps — not even where they reasonably could have, and GET THIS… the disabled bathroom is just through the doorway in the picture above, and you have to negotiate THREE steps to get to it… like I said, NO RAMPS … While there is a ground level door off to the side of the theater… even if you in through those side doors you STILL have to negotiate stairs to get to the handicapped bathroom!!! It’s absolutely imbecilic, and handicapped are relegated to the balcony as the stalls demand you negotiate a lot of stairs. The most recent refurbishment … when I assume the aforementioned bathroom was installed was in 2008, so you would THINK they’d have come up with a better work around for the disabled, but I guess not.


That said, while the theater offered a sound system for those with hearing issues, the sound coming out of it was actually WORSE than the sound from the stage. The Actors in the show aren’t wearing microphones, so they’ve got those hidden around the stage, and by the time the actors voices reach them, they’re distorted by reverb far worse than what you hear live.


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