Eastern Europe 2017 – Part 1; the prep and plan.

In 2017 I planned on going to the European Juggling Convention (EJC) in Lublin, Poland. I had a meeting in Praha, Czech Republic, a few weeks later and decided to combine both trips. I also had a potential travel companion who wanted to visit Poland. So we began planning the weeks in between EJC and CZ together. It started off as a few days in Poland together and extended into a wide semi-circle clockwise from Poland to the-as-of-yet-unknown across about two weeks.

Circus clothing for EJC.

I bought my EJC ticket early on, and soon booked my flight to the EJC, arriving late on  Saturday 22nd of July (the first day). It was a good choice of flight as a lot of people I knew were to be on the same flight. Because I was leaving for Poland about two weeks before my travelling companion we had to throw together a plan. They wanted to visit a friend in Rzezsów, a small town in Poland. We decided we would try to take trains from Poland to Serbia, they would fly home, and I would continue on to Czech Republic for my meeting.

Pile of stuff to be packed.

This was the longest trip I’d ever planned, and the first time I would be travelling with someone so I was a bit nervous and tried to prepare and pack accordingly. I knew I was going to be camping at the EJC, but not after so I arranged to leave my tent with a friend who would also be at the EJC, to save carrying the weight of it for five or so weeks.

Backpack packed for six weeks.

Tragedy struck when I lost my bank card two nights before leaving the country. I had to withdraw all the money I had saved for the trip, including emergency cash. I resolved to carry some of it with me, and asked my travelling companion to lodge the rest in their account and we could withdraw and split money as we travelled. I knew I wouldn’t be spending much during the EJC (camping, supermarkets) so thought it was best if my travel companion lodged most of the cash.

We planned to meet in Krakow a few days after the EJC (post-camp-site-tear-down), travel to Rzezsów, Poland; Kiev, Ukraine; Odessa, Ukraine; Chisinau, Moldova; Bucharest, Romania; Beograd, Serbia; and then hoped we would have devised a plan for getting home and getting to Czech Republic.

‘Happy Days’

Image

‘Happy Days’ gives us a brief insight into the life of Winnie, a middle-aged woman. She is [at minimum] buried up to her waist in earth and almost single-handedly entertains us and herself for the course of the entire play. Her husband Willie who we do not see properly during the first act, appears only briefly in full view during the second act. Winnie regales us with tales she is reminded of by things in her handbag.

During the second act though she is buried up to her neck and can no longer access her bag. She still continues talking, in hope that Willie is still listening for she never did “learn to talk alone”.

To take on Beckett play is no mean feat. With their intricate directions that are insistantly followed it may be tedious and difficult for a company, in this case the Godot Company, London, to give the play its own stamp. For enduring that alone a certain level of respect must be held. For the woman, too, who talks almost non-stop for the duration, I must say I was impressed.

Unfortunately, as soon as I entered the auditorium I was somewhat disappointed. The pile of earth Winnie is buried in looked more like a crater on the stage and reminded me of some class of moon-scape. I didn’t think it was true to the first lines of the play stating “Expanse of scorched grass rising centre to low mound.” As it was the only piece of scenery on stage, I felt like more attention could have been paid to its construction.

All the other bells and whistles appeared to be present. It seemed truer to the script in terms of lights and sound which accompanied the start and end of the acts. A loud whoosh runs through the auditorium as the lights go up. Winnie’s bell to get up, and go to sleep, rings at an uncomfortably loud level (as written).

Holding none of the intensity of ‘Endgame’, or the mystery of ‘Waiting for Godot’ I think this production must appeal more to avid Beckett readers than the usual theatre-goer.