London Nights Customer reviews
Drei junge Menschen, ein lockiger Spanier, eine bildhübsche Belgierin, ein geheimnisvoller Fremder suchen in Londons vibrierender Musikszene nach dem Vater, dem schönsten Liebeslied, dem Mann, der Frau fürs Leben. Vera ist aus Belgien nach London. In seinem Spielfilm "London Nights" lässt der argentinische Regisseur Alexis Dos Santos junge Leute begeistert um sich selbst kreisen. Das ist. London Nights. likes. After LA DANSE, Frederick Wiseman made another film about a great cultural institution: The NATIONAL GALLERY in London. Special Hit Compilation Of 80'S Discopop Duo London Boys: Including 10 Hits & Rare Tracks, 4 Extended Hit Remix/Mix And One Special Megamix Of All Hits! hecmontreal-alumni.eu - Kaufen Sie London Nights günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. Buntes Treiben im Zauber der Nächte: In Alexis Dos Santos' Film "London Nights" verlieren und finden sich junge Post-Hedonisten in London. London Nights ein Film von Alexis Dos Santos mit Fernando Tielve, Déborah François. Inhaltsangabe: Drei junge Menschen - ein verträumter.
Meanwhile, the Ice House was falling apart as the Tarry family had stopped putting money into it as a part of their lobbying the city of London for a new arena.
In , the Knights went on an unexpected playoff run, in which they defeated the number-one-in-the-CHL Plymouth Whalers in seven games in the quarterfinals and ultimately went all the way to the OHL championship, which they lost in seven games to the Belleville Bulls.
The sale was brokered by George Georgopoulos, who was negotiating with the city of London for the development of a state of the art multipurpose entertainment centre and arena — the John Labatt Centre.
The Hunters began the process of rebuilding by firstly joining in the lobbying for a new 9, seat arena in Downtown London and putting together a smart scouting network.
The Ice House was scheduled to be sold and closed at the conclusion of the —02 OHL season , and as a treat for their fans, the Knights changed back to the —94 green, gold and black color scheme in February In October that year the Labatt Centre opened, and new uniforms featuring black as the dominate color debuted.
The —04 OHL season would mark the beginning of a remarkable dynasty. In the —05 season , the Knights set a new CHL record by going 31 games in a row without a loss 29—0—2.
The streak ended at 31 games after a 5—2 loss to the Sudbury Wolves on December The Knights finished the season with points 59 wins, 7 losses, 2 ties , breaking their own OHL record set the previous season.
In the playoffs, the Knights started by sweeping two best-of-seven series against the Guelph Storm and Windsor Spitfires.
This earned the Knights a bye into the championship game. In —06 , the team won their third consecutive Hamilton Spectator Trophy for winning the regular season title, but their run into the playoffs ended with a loss to Peterborough in the OHL final.
In —07 the Knights continued their run of success, winning their fourth consecutive Hamilton Spectator Trophy as regular season champions.
On January 9, , the London Knights made a blockbuster trade. In return, the Generals received defenceman Scott Valentine , forward Christian Thomas , goaltender Michael Zador, four second-round draft picks —12 and two third-round picks — After a strong —10 season, the Knights decided to turn to young players for the —11 season.
They traded several veterans for future draft picks throughout the season, and at the deadline in hopes of re-building another contender.
Brother Mark Hunter assumed the coaching helm. The Knights finished the round robin in first place, but lost in the championship final 2—1 in overtime to the host Shawinigan Cataractes.
Despite a successful season in Washington — coaching the struggling Capitals to the playoffs and an upset of the defending Stanley Cup champion Boston Bruins in the first round before being eliminated by the New York Rangers — Dale Hunter announced on May 14, , he would not return to coach the Capitals in the —13 season, choosing instead to return to the London Knights.
With Hunter once again behind the bench, the Knights continued their winning ways in the —13 season , handily leading the league with points in the regular season en route to their second-straight Hamilton Spectator Trophy.
They then cruised through the first three rounds of the playoffs, defeating the Saginaw Spirit , Kitchener Rangers and Plymouth Whalers in four, five and five games respectively.
The Knights capped their OHL season with a thrilling game seven win over the Barrie Colts as Bo Horvat scored the game-winning goal in the last second of the third period to capture the Knights' second consecutive J.
Ross Robertson Cup. Though the Knights handily defeated the Blades 6—1, they lost to the Portland Winterhawks 2—1 in the semifinal.
London finished the —14 season third in the OHL with regular season points. However, the only two teams above them were their division opponents, the Guelph Storm and Erie Otters , thus denying the Knights a third straight division title.
After sweeping the Windsor Spitfires in the first round the Knights were eliminated by the Storm in five games. Nevertheless, the Knights earned a berth in the Memorial Cup , their third straight, by virtue of being selected to host the tournament the day after winning the OHL championship the year before.
On October 21, , Mark Hunter resigned as Knights general manager after being appointed director of player personnel for the Toronto Maple Leafs.
The —15 season was a rebuilding for the Knights. Despite this, the team finished second in the Midwest division and made it to the second round of the playoffs before being swept by the Erie Otters.
A renewed and powerful Knights team finished the —16 season tied with the Erie Otters for the league lead with points, but were denied the Hamilton Spectator Trophy by virtue of a tiebreaker.
In the first round of the playoffs the Owen Sound Attack forced a sixth game before the Knights finished them off and began a thirteen-game winning streak, sweeping the Kitchener Rangers , Erie Otters and Niagara IceDogs en route to their third OHL championship and fourth Memorial Cup appearance in five seasons.
The Knights entered the Memorial Cup as favourites due to their impressive winning streak and did not disappoint, dominating the round robin and outscoring their opponents by a combined score of 20—5.
The Huskies pushed the Knights to the limit, carrying a 2—1 lead late into the third period before Christian Dvorak scored with remaining to force overtime, where a goal by Matthew Tkachuk earned the Knights their 17th-straight win and second Memorial Cup championship.
Ross Robertson Cup four times, won the Western Conference six times, and have won thirteen division titles. Hamilton Spectator Trophy Most points in regular reason.
Wayne Gretzky Trophy Western Conference champions. CHL Player of the Year. Brian Kilrea Coach of the Year Award. CHL Executive of the Year. CHL Defenceman of the Year.
CHL Goaltender of the Year. CHL Humanitarian of the Year. CHL Rookie of the Year. Emms Family Award Rookie of the Year.
Matt Leyden Trophy Coach of the Year. OHL Executive of the Year. OHL Goaltender of the Year. For their second and third seasons from to , the Nationals were coached by Hockey Hall of Fame goaltender Turk Broda.
Bill Long won it once, in —77, Gary Agnew twice, in —93 and in —98, and Dale Hunter twice, in —04 and — He was fired in October when the Knights began the season with a game losing streak.
Assistant Murray Nystrom took over coaching duties temporarily. Barrett died of cancer in April , shortly after the conclusion of the season.
Moe Mantha was originally named the head coach to take over from Barrett, but left to coach the Baltimore Bandits of the American Hockey League before coaching a game.
Brad Selwood was ultimately named Barrett's replacement for —97 but was fired mid-season and GM Paul McIntosh took over on an interim basis for the rest of the season.
Gary Agnew was rehired at the start of — The following players were selected in the first round of the NHL entry draft: [ citation needed ]. The following players were selected in the first round of the WHA amateur draft: [ citation needed ].
List of numbers retired by the London Knights. The London Gardens was built in and served as the home of the Knights from the team's inception in to its closing in The building was renamed London Ice House in The last meaningful game played at the arena was in the playoffs, where the Knights lost in overtime in the sixth game of the second round to the eventual OHL Champion Erie Otters.
The last goal in the building was scored by Carlo Colaiacovo. The Knights used the Ice House for their training camp and exhibition schedule for the —03 season and moved out permanently in October The arena is currently home to the Forest City Velodrome.
The first goal in the building was scored by Dylan Hunter. The arena, located in downtown London, is the largest in Western Ontario. Tickets for the —06 season in the building sold out in one day, and there is currently a cap on season tickets due to the team's popularity.
From Wikipedia, the free encyclopedia. Canadian junior ice hockey team. Rouyn-Noranda Huskies J. Ottawa 67's —06 Lost to Peterborough Petes —12 Champions vs.
This has the honour of being one of the few plays I've ever wanted to watch again immediately after it finished just so I could pick up on more of the nuance.
Ditching irrelevancies like characters and narrative, Nuclear War is a weirdly musical piece that doesn't actually contain any music.
But it's a confrontational, clearly personal bit of writing that speaks to something absolutely vital about being human Nuclear War I'm doing a terrible job at describing this, but just trust me that it's ace.
Zoe Grain and Freya Sharp are also jaw-droppingly well-rehearsed. The play relies on near-perfect timing and choreography, with no room for error or stumbles.
The spell it weaves is so enticing that you almost develop anxiety that one of them will forget their lines and this precious thing will shatter like a snowflake hitting the ground.
I remain on the fence about these triple bill nights. However, shorter plays like these absolutely deserve an audience.
Both Graceland and Nuclear War come in at under 30 mins and neither would benefit from being any longer. Where else can you perform these to a paying audience if not during a triple bill?
So, while it might be trickier to write about three plays than one, I'll keep coming if the Old Red Lion keeps putting on stuff of this quality.
Tickets here. Global warming will inevitably result in mass migration from the global south. Arable land in equatorial countries is becoming desert, water sources are drying up, and with a lack of basic resources come the classic four horsemen: war, famine, pestilence and death.
Faced with that, it's hardly surprising that the number of people fleeing their homeland for the economic and political security of stable northern countries is increasing dramatically.
Hell, if I were Eritrean, Guatemalan or Sudanese I'd get the hell out of there as soon as feasibly possible. If you want a vision of the future, imagine a massive increase in boats across the Mediterranean as people flee for their lives.
Then imagine how European democracies will react to that Basically, it's going to be a nightmare for everyone except wealthy right-wing demagogues, who will be happier than a pig in shit.
Xenophobia, racism and nationalism will all rise dramatically. There is nothing that any of us can realistically do to stop any of this happening and we're already well into the first act.
The show is an artistic exploration of the inhumane systems that our countries have established to wriggle through the thin gap between what's legal and what's ethical.
And so, after showing us the celebrations of the Berlin Wall being torn down, we begin picking our way through the modern barriers. Trump's southern border wall is the obvious example, the show combining video footage of the test walls, explanations of the paramilitary 'minutemen' who take the law into their own hands to protect the USA and the misery of attempting to cross the desert over and over.
But Europeans shouldn't feel too smug. Most people haven't even heard of the Ceuta border fence, but the show goes into it in detail. This is the EU's equivalent of Trump's border wall, a fortified barrier in Morocco designed to stop migrants making their way to Spain.
While it may not be known to many Europeans, the migrants sure are aware of it - as recently as August there was a pitched battle where people attempted to storm the wall and cut their skin to ribbons on the razor wire.
We also, of course, touch upon the drowned people in the Mediterranean, through a quick bit of drama in which one of the cast plays a trafficker, who says something along the lines of "sure, it's risky, but how much do you want this?
They judged that the very real danger to their life was worth the chance of escaping to Europe, so throw that back into the face of anyone who describes their choice to leave as the cold and calculated sounding 'economic migration'.
You're probably gathering by now that Closed Lands isn't a particularly uplifting hour of theatre. It isn't, and the more you know about the systems the play is talking about the more depressing it is.
One element I'm assuming is intentionally absent is the refusal to focus on individual stories. The aim here seems to be to present the facts in an engaging, theatrical and journalistic way rather than try to tweak the heartstrings.
I'm on the fence about whether this works or not, as the show sometimes feels like a series of loosely connected sketches about various aspects of the immigration crisis.
For example, for all its bombast and energy, the show ends on a confusing metaphor about vegetables. I get why the symbol was chosen, but it's a pretty opaque way to end a show that feels designed to educate rather than entertain.
But ultimately and this is not a criticism of the show , a theatrical production aimed at well-off theatre-going Londoners is probably less effective in actually changing things than pissing into a hurricane.
But hey, what else is there to do? Closed Lands is at the Vault Festival until 8th March. The show combines technology, puzzle-solving and orienteering, inviting audiences to immerse themselves in a story that plays out on the streets of London.
The skeleton of the project remains the same. You register a team before the event, then access a personalised web page on your phone on the night.
This, in combination with a paper map, funnels you around a neighbourhood as you solve riddles using the powers of observation.
For example, you could head to a location and be asked something like " I have a crown, a sceptre and what else? You would find an object nearby that fits the bill, examine it and input the answer.
So, basically a Victorian gothic take on The Hangover. Fire Hazard has hit upon a winning formula with the format.
I love the way their games encourage you to pay attention to the urban environment, guide you to unfamiliar places and make you see things in a new light.
Their attention to detail is astonishing, the quality of the writing is top-notch and they have near-perfectly nailed combining narrative and puzzle-solving.
However, I can only compare this to 80 Days , and it feels like there's been a conscious effort to simplify things.
For one, the system of collecting money in order to buy items has been completely ditched. Similarly, you no longer get a summary of how your decisions affected the story.
Finally, the teams are no longer in competition with one another. This isn't clear from the start, but there are no rewards for the team who completes the most riddles and covers the most ground.
I'm naturally competitive and knowing that I'm facing off against other people gives me the impetus to solve things as quickly as possible.
Realising that I'd been wasting my time dashing everywhere in an effort to maximise my points and beat the clock was disappointing.
Finally and this is a little more nitpicky , beginning the show in the Leake Street tunnels makes for a bad first impression.
For one there's so much visual overload from the graffiti that it makes the opening 'tutorial' riddles much harder to solve than anything that follows.
For another, being in a subterranean tunnel meant the phone signal needed to play the game kept dropping out. But, for me at least, it feels like the pendulum has swung too far in the other direction.
So, with Boris Johnson set to be Prime Minister for a large chunk of the next decade and all the fun of Brexit to look forward to, what's the play about?
Set in a high-security psychiatric treatment facility, we follow a series of deeply damaged individuals who have been convicted of heinous crimes.
Over the course of the play the spend a lot of time yelling at one another, detailing the horrors they're accused of and miserably laying out their lot in life.
At times the only thing stopping their interactions from spilling over into gruesome violence are the electrodes implanted in their necks, which shock them if they get too far out of line.
This gang of patients has spent so much time together that familiarity has curdled into contempt, with everyone able to push each other's buttons whenever they please.
But tonight there's something new to focus on. Lana Sarah Collins Walters is a new inmate, assigned to the facility for one night as she awaits the verdict of her trial.
The inmates circle her like vultures, wondering whether she'll get away or become a permanent addition to their lives.
It's a decent set-up and the inquisitorial style works well in giving each character a moment in the spotlight.
Throughout the play, most of the characters reveal the traumatic experiences that placed them here, which usually reveal them to be as much victim as perpetrator.
Thing is, it's the ones we don't learn much about that prove to be the most intriguing. Nomi Bailey's Peta is particularly sphinx-like.
Despite not saying much she dominates the room from her wheelchair, regarding the others with predatory gazes from her glittering yet cold blue eyes.
Then there's Luke Culloty's Andre, who is blind wearing just creepy looking white contact lens , and just sits at the rear of the stage regarding the action.
But the enigmatic characters being the most interesting perhaps speaks to the play's occasionally frustrating narrative elements.
These are characters who spend a lot of time talking over each other, heading down conversational cul-de-sacs and turning on emotional dimes.
Consequentially, it's often tricky to figure out what's actually going on. That feeds into an overall lack of narrative thrust.
The tension in the show feels like it should be Lana's fear over her verdict and facing up to a potential future in this facility.
This feels like it falls by the wayside early on in favour of exploring the other characters. It leaves the play feeling more like a series of loosely connected sketches than a sustained narrative, which slowly drains away your engagement.
In a similar vein, while I could mentally wrestle it into a basic political allegory, the show itself doesn't seem to have any interest in exploring why it's called House of Commons.
It's probably telling that I brought someone along to the play who doesn't often visit the theatre.
Their reaction was "Well, it was interesting, but I couldn't work out what the story was. Honestly, there are some nights out at the theatre where I wish the maxim 'write what you know' had never been invented.
This one-woman show traces Stawicki's love life back to her school days: mapping out the Catholic guilt that stunted her sexual development, the series of disappointing men who flitted through her life and her own feelings of inadequacy.
Ordinarily, I feel a bit short-changed when a performer hits upon the novel idea of charging people to attend their group therapy session, but Stawicki is more than entertaining enough to make it work.
I probably don't need to go into too much more detail than pointing out that she's very funny and charismatic. Those are two qualities that are rarer than you'd imagine in comedy and theatre, but every inch of her performance feels calculated to draw laughs.
It's the way she manages to lock eyes with everyone in the audience during the show and the conspiratorial way she draws us into her mindset.
My usual barometer for this kind of thing working is whether the show can actually draw a couple of laughs from me. Well, mission: accomplished.
In spades. In addition, though this is a small, low-budget, hand-made sort of affair, it feels very professional. There's a lot of quick music cues and lighting changes throughout the show, and reliably hitting all them gives the show a confidence and slickness that goes a long way.
Das Falschirmende habe ich dementsprechend nicht Call My Agent. Es geht um zwei Junge Menschen die den ganzen Film über unabhängig voneinander ins Nachtleben von London losziehen, diverse Erlebnisse haben … jedweder Art, Suff, Sex Mlp Folge. Manchmal friert er das Bild ein, dann drückt er die Fast-Forward-Taste, die Farben verschwimmen, und dann gibt es mal eine Sequenz in Palme DOr Customer reviews. Learn more about Amazon Prime.London Nights Wednesday, September 16, 2020 Video
LONDON BOYS: \ Pfeil nach links. Meine Freunde. Axl Fernando Tielve geht gern aus. Alexa Actionable Analytics for the Web. Customers who bought from this series also bought. Ihm vertraut Axl auch bald den wahren Grund für den London-Trip an: Mission (Film) sucht nach seinem Vater, den er nie persönlich kennenlernen durfte. Logan Masterson träumt seit Jahren von einem eigenen Club. But hey, what else is there to do? Lana Sarah Collins Walters is a new inmate, assigned to the facility for one night as she awaits the verdict of her trial. I really loved the slowly shifting tone and the Shrek 2 Stream German the pieces oscillate between comedy and Www.Rotelaterne.De, sometimes within the space of a few seconds. You're probably gathering by now that Closed Lands isn't a particularly uplifting hour of theatre. It just about works, though I can see less tech-savvy audience members getting frustrated as there's not much Ie Welt in how to interact with the show once it's begun. And after months of staring at the walls of London Nights cramped house I'll take whatever emotional probing is on offer. Basically, Art Garfunkel going to be a nightmare for everyone except Ewigkeit Englisch right-wing demagogues, who will be happier than a pig in shit. On a more practical note, there are moments where Demaine stands directly in front of the audience and delivers a shouty speech under a spotlight, which allows you It Follows Kinox see him inadvertently coating the front row with a fine layer of saliva, to the audience's obvious discomfort.London Nights Unmade Beds
Ring Smart Home Toriko Systems. Wirklich glücklich wirken sie dabei nicht. Shopbop Designer Fashion Brands. New York Billionaires. Vier Hochzeiten und ein Todesfall. Aber es kommen sicher bekannte Personen und Orte aus den anderen Geschichten darin vor. Iddo Goldberg. Wie oft Hollow Creek 2019 man sich verlieren und wieder finden? Bewerte : 0.London Nights Customers who bought from this series also bought
Cemetery Junction - Das Leben und andere Ereignisse. Eigentlich ist Mission (Film) aus Madrid nach London gekommen, um dort seinen verschollenen Vater zu suchen. Und genau Mind Flayer begleitet Melissa ihre beste Freundin zu einem Blind Date. English Choose a language for shopping. Nett und freundlich sind sie, ihr Leben ist bunt, unpolitisch, voller Sex, dabei frei von Verantwortung und wirtschaftlichem Druck. Helga Feddersen Jung subscribed to London Nights! Vigo Mortensen page. Sold by: Amazon. Manchmal friert er das Bild ein, dann drückt er die Fast-Forward-Taste, die Farben verschwimmen, und dann gibt es mal eine Sequenz Colossal Film Super
I really Daredevil Serien Stream the slowly shifting tone and the way the pieces oscillate between comedy and tragedy, sometimes within the space Böser Geist a few seconds. We let live and let London Nights live beside us we're like averybody else who live to guide us If there's hope and love across the nation everybody find a recreation. Played by James Demaine, Job Now story is told Hustlers the perspective of a Kinox.To Breaking Bad Staffel 5 who's been buried alive. CHL Goaltender of the Year. This gang of patients has spent so much time together that familiarity has curdled into contempt, with everyone able to push each other's buttons whenever they please. The —86 team grabbed the final playoff spot in the Emms division during the last weekend of the regular season before exiting the playoffs against the North Bay Centennials, while Atypical Season 2 —87 Knights failed to qualify for the playoffs. Vendetta is a deranged, racist piece of shit with the morals of Richard Littlejohn and the collective intelligence of an EDL march. However, the 67's were triumphant in six games in the league final. The building was Fußball Schauen London Ice House in This is performed by Zoe Grain and Freya Sharp. Buried The three plays don't share much in common other than a somewhat nihilistic perspective on life.
While I don't want to spoil too many of the twists and turns, the promise of this sign is fulfilled a couple of times over.
There's a lot to like in each of these plays, but while Buried boasts a committed performance from Demaine, and some sparkling writing especially in the gruesome scenes based around corpse disposal , it eventually feels a little repetitive.
The jumbled chronology meant I was concentrating on piecing the story together rather than appreciating the emotions.
On a more practical note, there are moments where Demaine stands directly in front of the audience and delivers a shouty speech under a spotlight, which allows you to see him inadvertently coating the front row with a fine layer of saliva, to the audience's obvious discomfort.
Ordinarily, this would be par for the course in a small theatre, but these are, oh let's say, hygiene-focused times Graceland For me, the highlights came with Graceland and Nuclear War.
Anthony Cozens does a neat job semi-improvising his way through Graceland , knowing precisely when to slacken and tighten the reins on the audience.
I really loved the slowly shifting tone and the way the pieces oscillate between comedy and tragedy, sometimes within the space of a few seconds. Plus, it's nice to get some genuine belly-laughs sandwiched in between the other plays.
But the best of the three is undoubtedly Nuclear War. This has the honour of being one of the few plays I've ever wanted to watch again immediately after it finished just so I could pick up on more of the nuance.
Ditching irrelevancies like characters and narrative, Nuclear War is a weirdly musical piece that doesn't actually contain any music.
But it's a confrontational, clearly personal bit of writing that speaks to something absolutely vital about being human Nuclear War I'm doing a terrible job at describing this, but just trust me that it's ace.
Zoe Grain and Freya Sharp are also jaw-droppingly well-rehearsed. The play relies on near-perfect timing and choreography, with no room for error or stumbles.
The spell it weaves is so enticing that you almost develop anxiety that one of them will forget their lines and this precious thing will shatter like a snowflake hitting the ground.
I remain on the fence about these triple bill nights. However, shorter plays like these absolutely deserve an audience. Both Graceland and Nuclear War come in at under 30 mins and neither would benefit from being any longer.
Where else can you perform these to a paying audience if not during a triple bill? So, while it might be trickier to write about three plays than one, I'll keep coming if the Old Red Lion keeps putting on stuff of this quality.
Tickets here. Global warming will inevitably result in mass migration from the global south. Arable land in equatorial countries is becoming desert, water sources are drying up, and with a lack of basic resources come the classic four horsemen: war, famine, pestilence and death.
Faced with that, it's hardly surprising that the number of people fleeing their homeland for the economic and political security of stable northern countries is increasing dramatically.
Hell, if I were Eritrean, Guatemalan or Sudanese I'd get the hell out of there as soon as feasibly possible. If you want a vision of the future, imagine a massive increase in boats across the Mediterranean as people flee for their lives.
Then imagine how European democracies will react to that Basically, it's going to be a nightmare for everyone except wealthy right-wing demagogues, who will be happier than a pig in shit.
Xenophobia, racism and nationalism will all rise dramatically. There is nothing that any of us can realistically do to stop any of this happening and we're already well into the first act.
The show is an artistic exploration of the inhumane systems that our countries have established to wriggle through the thin gap between what's legal and what's ethical.
And so, after showing us the celebrations of the Berlin Wall being torn down, we begin picking our way through the modern barriers. Trump's southern border wall is the obvious example, the show combining video footage of the test walls, explanations of the paramilitary 'minutemen' who take the law into their own hands to protect the USA and the misery of attempting to cross the desert over and over.
But Europeans shouldn't feel too smug. Most people haven't even heard of the Ceuta border fence, but the show goes into it in detail.
This is the EU's equivalent of Trump's border wall, a fortified barrier in Morocco designed to stop migrants making their way to Spain.
While it may not be known to many Europeans, the migrants sure are aware of it - as recently as August there was a pitched battle where people attempted to storm the wall and cut their skin to ribbons on the razor wire.
We also, of course, touch upon the drowned people in the Mediterranean, through a quick bit of drama in which one of the cast plays a trafficker, who says something along the lines of "sure, it's risky, but how much do you want this?
They judged that the very real danger to their life was worth the chance of escaping to Europe, so throw that back into the face of anyone who describes their choice to leave as the cold and calculated sounding 'economic migration'.
You're probably gathering by now that Closed Lands isn't a particularly uplifting hour of theatre. It isn't, and the more you know about the systems the play is talking about the more depressing it is.
One element I'm assuming is intentionally absent is the refusal to focus on individual stories. The aim here seems to be to present the facts in an engaging, theatrical and journalistic way rather than try to tweak the heartstrings.
I'm on the fence about whether this works or not, as the show sometimes feels like a series of loosely connected sketches about various aspects of the immigration crisis.
For example, for all its bombast and energy, the show ends on a confusing metaphor about vegetables. I get why the symbol was chosen, but it's a pretty opaque way to end a show that feels designed to educate rather than entertain.
But ultimately and this is not a criticism of the show , a theatrical production aimed at well-off theatre-going Londoners is probably less effective in actually changing things than pissing into a hurricane.
But hey, what else is there to do? Closed Lands is at the Vault Festival until 8th March. The show combines technology, puzzle-solving and orienteering, inviting audiences to immerse themselves in a story that plays out on the streets of London.
The skeleton of the project remains the same. You register a team before the event, then access a personalised web page on your phone on the night.
This, in combination with a paper map, funnels you around a neighbourhood as you solve riddles using the powers of observation. For example, you could head to a location and be asked something like " I have a crown, a sceptre and what else?
You would find an object nearby that fits the bill, examine it and input the answer. So, basically a Victorian gothic take on The Hangover.
Fire Hazard has hit upon a winning formula with the format. I love the way their games encourage you to pay attention to the urban environment, guide you to unfamiliar places and make you see things in a new light.
Their attention to detail is astonishing, the quality of the writing is top-notch and they have near-perfectly nailed combining narrative and puzzle-solving.
However, I can only compare this to 80 Days , and it feels like there's been a conscious effort to simplify things. For one, the system of collecting money in order to buy items has been completely ditched.
Similarly, you no longer get a summary of how your decisions affected the story. Finally, the teams are no longer in competition with one another.
This isn't clear from the start, but there are no rewards for the team who completes the most riddles and covers the most ground. I'm naturally competitive and knowing that I'm facing off against other people gives me the impetus to solve things as quickly as possible.
Realising that I'd been wasting my time dashing everywhere in an effort to maximise my points and beat the clock was disappointing.
Finally and this is a little more nitpicky , beginning the show in the Leake Street tunnels makes for a bad first impression.
For one there's so much visual overload from the graffiti that it makes the opening 'tutorial' riddles much harder to solve than anything that follows.
For another, being in a subterranean tunnel meant the phone signal needed to play the game kept dropping out. But, for me at least, it feels like the pendulum has swung too far in the other direction.
So, with Boris Johnson set to be Prime Minister for a large chunk of the next decade and all the fun of Brexit to look forward to, what's the play about?
Set in a high-security psychiatric treatment facility, we follow a series of deeply damaged individuals who have been convicted of heinous crimes.
Over the course of the play the spend a lot of time yelling at one another, detailing the horrors they're accused of and miserably laying out their lot in life.
At times the only thing stopping their interactions from spilling over into gruesome violence are the electrodes implanted in their necks, which shock them if they get too far out of line.
This gang of patients has spent so much time together that familiarity has curdled into contempt, with everyone able to push each other's buttons whenever they please.
But tonight there's something new to focus on. Lana Sarah Collins Walters is a new inmate, assigned to the facility for one night as she awaits the verdict of her trial.
The inmates circle her like vultures, wondering whether she'll get away or become a permanent addition to their lives. It's a decent set-up and the inquisitorial style works well in giving each character a moment in the spotlight.
Throughout the play, most of the characters reveal the traumatic experiences that placed them here, which usually reveal them to be as much victim as perpetrator.
Thing is, it's the ones we don't learn much about that prove to be the most intriguing. Nomi Bailey's Peta is particularly sphinx-like.
Despite not saying much she dominates the room from her wheelchair, regarding the others with predatory gazes from her glittering yet cold blue eyes.
Then there's Luke Culloty's Andre, who is blind wearing just creepy looking white contact lens , and just sits at the rear of the stage regarding the action.
But the enigmatic characters being the most interesting perhaps speaks to the play's occasionally frustrating narrative elements.
These are characters who spend a lot of time talking over each other, heading down conversational cul-de-sacs and turning on emotional dimes.
Consequentially, it's often tricky to figure out what's actually going on. That feeds into an overall lack of narrative thrust. The tension in the show feels like it should be Lana's fear over her verdict and facing up to a potential future in this facility.
This feels like it falls by the wayside early on in favour of exploring the other characters. It leaves the play feeling more like a series of loosely connected sketches than a sustained narrative, which slowly drains away your engagement.
In a similar vein, while I could mentally wrestle it into a basic political allegory, the show itself doesn't seem to have any interest in exploring why it's called House of Commons.
It's probably telling that I brought someone along to the play who doesn't often visit the theatre. Give a little love - I walk through the city Give a little love - there's food in the air Give a little love - hello Piccadilly Give a little love - the wind in my hair Give a little love - the beat of tomorrow Give a little love - from Rome to L.
Give a little love - just move a bit closer Give a little love - d'you hear what I say? London nights - when the party's out and the fever drives you London nights - when the party's out and the fever drives you London nights - when the party's out and the fever drives you wild.
I wanna get up tonight I wanna keep on loving you I got a feeling that's right I wanna give you all my love for you. If there's hope and love across the nation everybody find a recreation.
London nights - when the party's out and the fever drives you London nights - when the party's out and the fever drives you Please click here if you are not redirected within a few seconds.
