Il Volo World Tour at San Jose Civic Center

I have always enjoyed listening to the 3 Italian Tenors (Il Volo) and was delighted to learn of their concert in San Jose. I purchased tickets for O1/2 seats in section 101 (excellent seating) of the San Jose Civic Center.

In general, the San Jose Civic Center is not the best place for musical concerts, as the acoustics are mediocre and the seats are flat, but it is conveniently located nearby. After a short drive, we found nearby parking for $7, a few blocks away (on Viola Street, near the San Jose Convention Center).

Here are a couple of short video clips from the concert:

Here is a clip of Leonard Cohen's Hallelujah:

Overall, I really liked the concert and would happily see Il Volo again.

Here’s a current overview of Il Volo’s World Tour and the songs they usually play — based on recent setlists from their World Tour 2024/25 and confirmed 2026 dates:

🎤 About the Tour

• Il Volo — the Italian operatic pop trio: Piero Barone, Ignazio Boschetto, Gianluca Ginoble) — is touring globally with their World Tour 2024/25 and continuing into 2026/27, including a 10-city U.S. tour in April–May 2026, hitting cities like Denver, San Jose, Los Angeles, San Diego, Dallas, Detroit, and more. IL VOLO - Official website

• They blend classical opera, Italian standards, pop classics, and cinematic themes for a varied and theatrical concert experience.

• Shows typically run about 1.5–2 hours.

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🎶 Typical Setlist / Songs Played Live

While setlists vary a bit from show to show, there’s a pretty consistent repertoire drawn from recent performances:

Core Songs Frequently Played
These are among the most played in recent concerts: 

• Grande amore – their signature hit that often opens or closes sets. 

• ‘O sole mio – classic Neapolitan favourite. 

• Il mondo – another crowd favourite. 

• Nessun dorma – Puccini’s powerful tenor showcase.

• Torna a Surriento – Italian standard. 

Operatic / Classical / Cinematic Pieces Often Included

• Nelle tue mani (Now We Are Free) — from Gladiator

• Opera — a grand mixed opera piece. 

• E lucevan le stelle / Amor de mi vida — classic opera crossover medley.

• Se (from Cinema Paradiso) — romantic film theme. 

• Ecstasy of Gold — dramatic Morricone theme

Popular Covers from Recent Tours
Il Volo often includes well-known pop and musical theatre songs, such as:

• Who Wants to Live Forever (Queen) 

• Memory and Music of the Night (from Cats & Phantom of the Opera) 

• Hallelujah (Leonard Cohen) 

• My Way (classic pop standard) 

• The Sound of Silence (Simon & Garfunkel) 

• Miserere (Zucchero) 

Other frequent numbers

• Capolavoro — from their own catalog, 

• La donna è mobile — opera aria with a pop twist 

• Funiculì, funiculà — Italian classic 

• Libiamo ne’ lieti calici — Verdi toast aria 

Together, this creates a mix of classical, Italian standards, pop/rock covers, and cinematic themes that showcase both their operatic technique and crossover appeal. Ticketmaster

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🎶 Il Volo – Common Expected Concert Playlist

🎤 Signature Hits & Crowd Favorites
These are staples — played at most concerts:

1. Grande amore (their signature anthem) 

2. ’O sole mio (classic Neapolitan favorite)

3. Il mondo (timeless Italian pop) 

4. Nessun dorma (Puccini opera classic)

5. Torna a Surriento (Italian standard) 

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🎻 Operatic / Cinematic / Dramatic Pieces
Often performed to showcase their vocal range and theatrical style: 
6. Opera (classical crossover medley) 
7. E lucevan le stelle / Amor de mi vida (operatic duet) 
8. Nelle tue mani (Now We Are Free) – from Gladiator 
9. Ecstasy Of Gold (Ennio Morricone theme)
10. Se (from Cinema Paradiso) 

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🎵 Pop & Musical Theatre Covers
Il Volo mixes Italian classics with well-known international songs: 
11. My Way (Paul Anka / classic standard) 
12. Hallelujah (Leonard Cohen cover) 
13. Memory (Cats – Andrew Lloyd Webber) 
14. The Music of the Night (Phantom of the Opera) 
15. Who Wants to Live Forever (Queen cover) 

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🎼 Other Favorites & Classics
These also turn up frequently in setlists:
16. Miserere (Zucchero)
17. La donna è mobile (Verdi aria) 
18. Funiculì, funiculà (Italian classic) 
19. Libiamo ne’ lieti calici (Verdi toast) 
20. Torna a Surriento / Mattinata / Caruso / Other Italian standards (varies by show) 

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🎧 Actual San Jose Playlist

1. Torreador (from the opera Carmen, by George Bizet)
2. O' sole mio
3. Granada
4. La donna è mobile (Verdi)
5. Love me tender (Elvis Presley)
6. Glory, glory, hallelujah
7. Libiamo ne’ lieti calici (Verdi toast)
8. Never walk alone
9. Ecstasy of Gold (Marricone)
10. Cinema Paradiso (Marricone)
11. Music of the Night (from Phantom of the Opera)
12. Don’t cry for me, Argentina 
13. Smile
14. My Way (Frank Sinatra)
15. Hallelujah (Leonard Cohen)
16. Funiculì, funiculà
17. Grande Amore
18. Il Mondo (Jimmy Fontana)
19. Nessun dorma (Puccini's Turandot Opera)

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Project Hail Mary

I had really enjoyed reading Andy Weir's bestselling novel Project Hail Mary, and was delighted to learn that a movie was being made (just like The Martian).

Since it had excellent reviews, Inna and I decided to see it at the Cinemark CinéArts Santana Row movie theater. We chose the 15:25 showing and stopped by at the Augustine cafe (for cappuccinos) before the show. The cappuccinos were not bad, and the apple turnover was not half bad.

At around 15:10, we strolled to Cinemark CinéArts Santana Row (it was lightly raining) and purchased our two seats (they were assigned). Unlike other movie theaters, these seats had built-in reclining and heating!

Before the movie started, we spent about 20 minutes watching previews. Thankfully, I could ignore them. The only film that piqued my interest was Young Washington.

Here is a  nice write-up about the movie from ChatGPT:

Few science-fiction films manage to balance large-scale cosmic stakes with genuine emotional warmth, but Project Hail Mary pulls it off brilliantly. Based on Andy Weir’s bestselling novel, the film follows Ryland Grace, a former science teacher who awakens alone aboard a spacecraft with no memory of who he is or why he is there. As his memories slowly return, both Grace and the audience uncover the terrifying truth: Earth’s sun is dying, and he has been sent on a desperate one-man mission to save humanity.

What begins as a tense mystery quickly transforms into one of the most engaging science-fiction adventures in years. Through flashbacks, we learn that Earth has discovered a microorganism called “astrophage” that is feeding on the sun’s energy, threatening a catastrophic global cooling event. Humanity’s only hope lies in the distant Tau Ceti star system, the one place where the phenomenon appears not to be occurring. Grace is launched aboard the ship Hail Mary to investigate.

The film’s greatest surprise—and emotional centerpiece—comes when Grace discovers he is not alone in deep space. He encounters Rocky, an alien engineer from another world whose species is facing the same existential threat. What follows is an unexpectedly heartfelt friendship between a human and an alien as the two scientists overcome language barriers, biological differences, and fear to work together. Their relationship becomes the soul of the movie, turning what could have been a standard survival thriller into something deeply memorable. Critics and audiences alike have highlighted Rocky as one of the film’s standout elements.

Ryan Gosling delivers one of his most likable performances as Grace, capturing both the character’s humor and vulnerability. He makes the scientific exposition feel natural and entertaining, and his chemistry with a CGI/puppeted alien is astonishingly believable. The visual effects are spectacular, especially in the depictions of interstellar travel, alien environments, and Rocky's design.

What elevates Project Hail Mary above typical blockbuster sci-fi is its optimism. At its core, this is not just a movie about saving Earth—it is about cooperation, friendship, sacrifice, and the belief that intelligence and compassion can overcome even impossible odds. The ending delivers an emotional payoff that feels earned rather than manipulative, leaving the audience with both wonder and genuine feeling. Reviewers have widely praised the film’s blend of scientific problem-solving, humor, and emotional depth.

If the movie has one flaw, it’s that its runtime can feel a bit long, and some viewers may find the scientific explanations dense at times. But even those slower moments serve the story’s central theme: that science itself can be thrilling when presented with imagination and heart.

Final Verdict:
Project Hail Mary is one of the best science-fiction films in recent memory—a rare blockbuster that delivers spectacle, intelligence, humor, and emotional resonance in equal measure. Whether you come for the space adventure or stay for the friendship at its center, this is a film well worth the journey.

After the movie, we stopped by for dinner at Meso Restaurant (Inna had made dinner reservations for 18:15). After being seated with a nice view of the courtyard, we looked at the menu and ordered the following items:

• Housemade Mezze Platter (hummus, smoked eggplant, tzatziki, chips)
• Lamb Kebab (3)
• Beef and Lamb Meatballs (5)
• Fattoush Salad
• Pomegranate Glazed Salmon

I liked the Lamb Kebab and Lamb Meatballs. The Fattoush salad was not bad. The Mezze platter was small and unimpressive. The Glazed Salmon was average.  It's not a bad place, but not outstanding either.

Links

• Cinemark CinéArts Santana Row
• Project Hail Mary
• Young Washington
• Augustine Cafe
• Meso Restaurant

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"Our Class" Play at Z Space

On Saturday, March 28, 2026, Inna and I drove to San Francisco to see the play "Our Class" at Z Space (in the Mission District).

Before seeing the play, we decided to park at Crissy Field and stroll along the waterfront. As we were hungry, we stopped for lunch at Cracked & Battered (one of our favorite local eateries). We were finally able to get a table (inside), as our past 2-3 attempts ended in failure (Cracked & Battered closes at 2:00pm).

We ordered the following items from the Cracked & Battered lunch menu:

• Boris: Fried Chicken & Waffles, Coffee
• Inna: 3 Pieces Fried Chicken, 2 Eggs Over-Medium, Coffee

The Fried Chicken was excellent, and Inna shared 1.5 pieces with me (as she actually received 4 pieces). The Waffle was soft and fluffy - just perfect!

After lunch, we walked along the waterfront to Equator Coffees and then all the way back to Crissy Field. There were lots of people jogging, bicycling, running, and many soccer games (for young boys & girls) on the fields.

We stopped by for two cappuccinos at Equator Coffees (there was a long line).

At around 17:00, we drove our Tesla Model Y to be closer to the play (in the Mission district), and we decided to park at the San Francisco General Hospital's parking lot (to minimize potential parking tickets and car burglaries). Mission is not the safest neighborhood in San Francisco, and we saw a few interesting people on the street.

From the parking lot, we walked toward Tartine Manufactory, where we decided to eat dinner. We arrived there around 117:45. It looked mostly empty, but we were told that reservations would have been desirable. Fortunately, a free table was found for us, and we ordered the following items:

• Appetizer: Green Goddess Salad with Chicken
• Main: Mushroom Pizza
• Drinks: Sincere Apple Cider
• Bread & Butter

The Green Goddess Salad was excellent. The Bread & Butter were delicious (but we had to remind ourselves to eat less bread). The Mushroom Pizza was not bad. Inna loved the Sincere Apple Cider.

At around 18:45, we finished our dinner and quickly walked to the nearby Dandelion Chocolate 16th Street Factory. It was closing at 19:00, but we snuck in time to order a hot chocolate. The creamy, European-style hot chocolate was out (what we love to taste at Thierry in Vancouver), so Inna ordered the standard. It was not bad, but I wouldn't go out of my way to order it. We did try a few different chocolates on display (there was a range from different beans and regions of South America and Africa). The 100% pure chocolate was quite bitter, and I preferred the 85%.

From Dandelion, we walked about 5 minutes to Z Space for our play.

Inna wanted to see the play because of the famous Russian actress playing in it. The subject matter was quite dark, and we left after the first half (as I was not really enjoying the play). I felt that the lack of context (for each lesson) made it difficult to understand. One really needed to know Polish history to make sense of all the events.

Here is what ChatGPT has to say about the play:

Our Class is a powerful and disturbing contemporary play that explores memory, identity, and violence in 20th-century Eastern Europe.

What it’s about

The story follows ten classmates—five Jewish and five Catholic Polish— from the same school, tracing their lives from childhood in the 1920s through World War II and into the late 20th century. What begins as an ordinary shared upbringing slowly fractures under the pressures of war, occupation, and rising antisemitism.

Historical backdrop

The play is inspired by real events, particularly the Jedwabne massacre, in which Jewish residents were murdered—shockingly, with participation from their non-Jewish neighbors. The play doesn’t just recount history; it examines how ordinary people can become complicit in atrocities.

Themes

• Friendship vs. betrayal – childhood bonds collapse under ideology and fear
• Memory and guilt – how people remember (or distort) the past
• Identity – religious and national identities become life-or-death divisions
• Moral responsibility – who is to blame, and how history judges them

Style

The play is often staged minimally, with actors narrating their own lives directly to the audience. This creates a stark, almost documentary feel, making the emotional impact more immediate.

Why it’s significant

“Our Class” is widely regarded as one of the most important modern European plays because it forces audiences to confront uncomfortable truths about human nature and history—not just what happened, but how and why it happened.

 

 Simple Plot Summary (Act-by-Act Style)

The play is structured as a series of “lessons” rather than traditional acts.

Early Lessons (Childhood – 1920s/30s)

• Ten classmates (Jewish and Catholic Polish) grow up together.
• They joke, flirt, argue—basically normal kids.
• Subtle tensions already exist (religion, stereotypes), but nothing extreme yet.

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Middle Lessons (WWII – 1940s)

• Everything changes with war and occupation (first Soviet, then Nazi).
• Power shifts—some classmates gain authority, others lose everything.
• Antisemitism intensifies.

👉 The turning point is the massacre inspired by the Jedwabne massacre:

• Jewish classmates are brutally attacked.
• Some of their former friends participate or stand by.
• This is the emotional and moral core of the play.

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Later Lessons (Postwar – 1950s–2000s)

• Survivors deal with guilt, denial, or justification.
• Some emigrate, some reinvent themselves, some cling to lies.
• The past never really goes away.
• The play ends with reflection: memory is incomplete, uncomfortable, and contested.

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👥 Main Characters (Simplified)

You don’t always need to memorize all 10, but here are key ones:

• Zygmunt – Becomes violent and opportunistic
• Rysiek – Aggressive, openly antisemitic
• Władek – More passive, conflicted
• Abram – Jewish classmate, thoughtful, becomes a victim of events
• Menachem – Jewish survivor who emigrates

👉 The characters represent types of human behavior:

• perpetrators
• victims
• bystanders
• survivors

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💡 Key Themes (Explained Simply)

1. Ordinary people can do terrible things

These aren’t monsters—they’re classmates. That’s what makes it disturbing.

2. Peer pressure & power

People act differently when they feel powerful—or afraid.

3. Memory is unreliable

Characters rewrite their past to avoid guilt.

4. Friendship isn’t always stronger than hatred

Childhood bonds collapse under social and political pressure. 

Our Class Play Review 

Highlights

• The play is very unconventional and has creative uses of the blackboard

Lowlights

• It was difficult to understand each time period, as there was minimal context provided. It would have been very helpful to understand the year of each lesson and the major issues.

Links

• Cracked & Battered
• Equator Coffees
• San Francisco General Hospital Parking
• Tartine Manufactory
• Dandelion Chocolate 16th Street Factory


• Our Class Play

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The Devil Wears Prada at Dominion Theater

After our amazing dinner at Tattu, we rode the elevator downstairs and walked across the street to the Dominion Theater, where our musical - The Devil Wears Prada - was playing.  I had purchased tickets for the 19:30 showing. Outside, there were lots of girls all dressed up in expensive outfits, queuing up to enter the theater.

This wasn't my first choice of a musical (I would have preferred Hadestown), but Inna really wanted to see it. The musical was a close match to The Devil Wears Prada, starring Meryl Streep and Anne Hathaway.

The plot is not very exciting:

Follow the life of a young, aspiring journalist who lands a demanding job working for a leading fashion magazine editor and must navigate the pressures, sacrifices, and moral compromises of the high-fashion world.

👠 The Devil Wears Prada — Act-by-Act Synopsis (with Musical Numbers)

Featuring “irresistible songs” (The Standard) by Elton John and a “terrific” (Time Out) performance from Vanessa Williams in the iconic role of Miranda Priestly, this musical based on the blockbuster film and bestselling novel is “a devil of a good time” (Daily Express).

Strutting alongside Vanessa are Stevie Doc (winner of ITV’s Mamma Mia! I Have A Dream and WhatsOnStage Award nominee for her performance as Sophie in Mamma Mia!), with Taila Halford (Shucked, School of Rock) as Miranda’s fiery and fashion-forward first assistant Emily, while Olivier Award-winner Matt Henry gives an “endearing and soulful” (Time Out) performance as Nigel.

With lyrics by Shaina Taub & Mark Sonnenblick, book by Lauren Weisberger & Kate Wetherhead and direction & choreography by three-time Tony Award winner Jerry Mitchell (Kinky Boots, Legally Blonde, Pretty Woman, Hairspray). Based on the Novel by Lauren Weisberger and the Twentieth Century Studios Motion Picture.

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ACT I

The show opens in New York City, introducing the dazzling, unforgiving world of high fashion.

• “House of Allure”
  The Runway fashion universe explodes onto the stage — models, editors, designers, and influencers worship style, image, and status.

Freshly graduated journalist Andy Sachs arrives, awkwardly dressed and clearly out of place.

• “I’m Not Like That”
  Andy insists she doesn’t care about fashion — this is “just a job” on the way to real journalism.

She soon meets the icy, impeccably dressed Miranda Priestly, editor-in-chief of Runway.

• “The Devil Wears Prada”
  Miranda enters with terrifying authority, establishing the rules of her world: perfection, obedience, and absolute control.

Andy’s first days are humiliating and overwhelming. Her co-assistant Emily lives for the job, while the fashion staff openly mock Andy.

• “Dress Your Way Up”
  The Runway team celebrates ambition and climbing the ladder — by any means necessary.

Andy receives unexpected guidance from Nigel, the magazine’s creative director.

• “You Can’t Be Serious”
  Nigel challenges Andy’s dismissive attitude, explaining that fashion is power, influence, and culture.

Andy commits to succeeding.

• Makeover Sequence
  Andy’s transformation is shown through a high-energy montage as she learns the language of fashion and begins meeting Miranda’s impossible standards.

By the end of Act I, Andy has changed — not just in appearance, but in confidence and ambition.

• “How to Survive the Job”
  Andy proves she belongs, thrilling the Runway staff while unsettling her friends and boyfriend Nate, who feels she’s losing herself.

Act I ends with Andy fully inside Miranda’s world — successful, admired, and dangerously tempted.

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ACT II

Andy’s success brings new privileges and moral compromises.

• “Paris Is Where It Happens”
  The fashion elite prepare for Paris Fashion Week, the ultimate prize in the industry.

Emily dreams of Paris, but Miranda chooses Andy instead — a ruthless decision that mirrors Miranda’s own survival tactics.

• “That Night”
  Andy and Nate confront the growing distance between them, exposing the cost of Andy’s ambition.

In Paris, Andy sees Miranda at her most powerful — and most vulnerable.

• “Loyalty”
  Miranda reveals the sacrifices she has made to stay on top, insisting that power always comes at a price.

Miranda betrays a longtime colleague to protect her position.

• “The Line”
  Andy realizes she has crossed an ethical boundary — she is becoming someone she doesn’t recognize.

Miranda senses Andy’s internal struggle.

• “What You Want”
  Miranda challenges Andy: success is a choice, not an accident — and walking away is a choice, too.

At her breaking point, Andy finally understands the future that awaits her if she stays.

• “Goodbye, Miranda”
  Andy quits Runway, rejecting power without purpose.

Though Miranda appears unmoved, her final moment suggests respect — Andy has done what few ever do.

• Finale: “I’m Not Like That (Reprise)”
  Andy steps forward into her own future, changed but grounded, having survived the fashion world without losing her soul.

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Themes & Tone

• Ambition vs. Integrity — what is success really worth?

• Power & Leadership — Miranda as a complex, not villainous, figure

• Identity & Self-Worth — defining success on your own terms

• Style & Spectacle — bold fashion sequences balanced with intimate character moments

The Devil Wears Prada Review

Highlights

• The staging, special effects, and models walking through the audience were great.
• Lots of Londoners came in all dressed up for the show

Lowlights

• The overall music was very loud (too loud). I should have worn my AirPods to reduce the volume.
• Even though the songs are written by Elton John, there weren't any memorable songs (or ones that I would ever want to listen to again)
• The plot is uninspiring
• The choreography was a bit wooden - it's not Chicago level.

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Warner Bros. Studio Tour London – The Making of Harry Potter

Monday, March 23, 2026

At 07:45, from our Eggerton House Hotel in Knightsbridge, we walked for 28 minutes to the Golden Tours, Bulleid Way Departure Point (at Victoria Station), to board our tour bus bound for Warner Brothers Harry Potter Studio tour. The bus departed on schedule at 08:30.

The bus ride to Warner Bros. Studio took just over an hour and arrived at 09:45. On the bus, each seat had a built-in Android screen, and we watched highlights from previous Harry Potter films.

On arrival at the studio, we went inside (after passing a full screening check) and sat down for some coffee. I ordered an espresso, while Inna ordered a cappuccino. An enormous dragon was hanging from the ceiling, which was impressive (and looked scary).

We spent all 4 hours going through the entire studio and almost ran out of time (not evening stopping for lunch). There is so much to see, do, and photograph that we could have easily spent a few more hours. (Our return bus was scheduled for 14:15, and we had additional plans that day for another musical at 19:30).

Note, the digital tour/audio guide was not necessary. Some of the studios are quite dark, so having my Canon R8 full-frame camera really helped.

Here’s a detailed overview of Warner Bros. Studio Tour London – The Making of Harry Potter, one of the most magical film-related experiences you can have near London:

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✨ What It Is

It’s a behind-the-scenes walk-through exhibition and studio tour at the actual Warner Bros. Studios Leavesden in Watford (just northwest of London). The attraction showcases authentic sets, props, costumes, and special effects used in the making of all eight Harry Potter films.

The tour opened in 2012 and has been hugely popular ever since, attracting up to ~6,000 visitors a day during peak periods and consistently earning extremely high visitor ratings.

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🪄 What You’ll See & Do

During the self-guided tour (most people spend ~3–4 hours there), you’ll get to explore many iconic elements from the films:

• The Great Hall — step inside the classic Hogwarts ceremonial hall, where dining and  sorting take place

• Quidditch - fly on a broomstick

• Diagon Alley — a recreated street with shop façades like Ollivanders and Weasleys’ Wizard Wheezes.

• Platform 9 ¾ & Hogwarts Express — board the original train used in the films.

• Forbidden Forest — a moody outdoor set with lighting and creature effects, with large spiders that move around

• Gringots Bank - an impressive bank with marble columns

• Fire-breathing Dragon - an impressive  mechanical monster that breathes fire

• Original Props & Costumes — see delicate costumes, magical props, and miniature models (including the huge Hogwarts castle model used for visual effects).

• Behind-the-Scenes Exhibits — learn how special effects, animatronics, green screen work, and filmmaking techniques brought the wizarding world to life.

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🎟️ Tickets & Booking

• Advance booking is required — tickets aren’t sold at the door and often sell out months ahead.

• Tickets are timed; arrival before your slot is recommended.

• Various ticket types exist, including standard entry and upgrades (souvenir guides, afternoon tea, VIP options, etc.).

• Prices vary with type and season; booking directly through the official site or trusted partners is usually best.

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🚆 Getting There

The tour site is in Leavesden, Watford (Hertfordshire), about a ~20–30 minute train ride from London Euston to Watford Junction, followed by a shuttle bus to the studios.
Alternatively, official coach/bus services depart from central London stations like King’s Cross and Victoria (often available as ticket + transport packages).

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📌 Tips for Visiting

• Plan plenty of time (3–4+ hours): There’s a huge amount to see and read.

• Book early: The tour is extremely popular, and slots fill up quickly — especially around holidays.

• Combine transport & tour: Booking tickets with included travel can simplify your day.

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🧙‍♂️ Why It’s Special

Unlike theme parks or ride-based attractions, this experience immerses you in the actual filmmaking process and physical artifacts from the Harry Potter films. Fans often describe it as a deeply emotional and nostalgic experience — almost like stepping into the wizarding world for real.

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Warner Bros. Studio Tour Review

Highlights

• Visiting all the original sets used in the Harry Potter films, including
• The Great Hall
• Privet Drive (Harry Potter's home)
• Gringots Bank
• Diagonal Alley
• Hagrid's Hut
• Potions Class
• Gryffindor Rooms
• Slytherin Rooms
• Forbidden Forest
• Fire-breathing dragon
• Quidditch Simulation
• A large model of Hogwarts Castle
• Seeing all the original masks, props, and special effects
• Learning about all the animals (and the training required) to make part of the films
• I did not realize that snowy owls required so much training (compared to ravens)

Lowlights

• It was quite crowded with large tour groups, including young kids (from schools)
• We had to wait in line for some things, like Quiddith simulators
• We did not have time for lunch, and the cafeteria was overly crowded

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My Neighbour Totoro at Gillian Lynne Theatre

One of the main reasons that I like seeing musicals in London is that they can be quite unique (with British sensibilities) and often do not travel across the pond to New York (and are therefore never seen in the United States).

When selecting My Neighbour Totoro, I found a unique, charming musical that would be unlikely to be staged in the United States. 

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🌱 My Neighbour Totoro — Act-by-Act Synopsis (with Musical Moments)

Adapted from Hayao Miyazaki’s animated film
Music: Joe Hisaishi
Tone: Gentle, poetic, visually spectacular

My Neighbour Totoro is less a conventional “song-and-dance” musical and more a theatrical symphony — storytelling through movement, puppetry, orchestration, and a handful of lyrical songs.

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ACT I

The story opens in rural Japan in the 1950s, where sisters Satsuki and Mei move to the countryside with their father to be closer to their mother, who is recovering in the hospital.

• Opening Orchestral Theme
  A lush, pastoral overture establishes the calm, wonder-filled natural world.

The girls explore their new house, discovering dust sprites and signs of unseen spirits.

• “Hey, Let’s Go” (instrumental & ensemble motifs)
  Childlike energy and curiosity are expressed through movement and music as the girls settle into their surroundings.

Mei wanders into the forest and encounters the mysterious forest spirits — including the enormous, gentle creature Totoro.

• Forest Spirit Motifs
  Wordless, playful music accompanies Mei’s magical discovery, emphasizing awe rather than explanation.

Satsuki, juggling responsibility beyond her years, worries quietly about their mother.

• “A Lost Child” (lyrical theme)
  One of the production’s few vocal moments underscores childhood vulnerability and longing.

The sisters’ bond deepens as nature and magic begin to blur into everyday life.

Act I ends with a sense of wonder — magic exists, but the real emotional stakes are still ahead.

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ACT II

Reality presses in when news arrives that their mother’s condition may not be improving.

• Rain & Waiting Scene (Bus Stop Sequence)
  One of the show’s most iconic moments: Satsuki waits in the rain, fearful and alone — until Totoro appears beside her at the bus stop.
  Music swells gently, blending humor, warmth, and quiet reassurance.

Totoro summons the Catbus, a dazzling feat of puppetry and orchestral motion.

• Catbus Theme
  A joyful, kinetic musical sequence representing escape, imagination, and hope.

When Mei goes missing while trying to visit her mother alone, panic sets in.

• Searching Motif / Orchestral Underscore
  The music grows more urgent as the village searches, contrasting sharply with the show’s earlier serenity.

Totoro and the forest spirits intervene once more.

• Reunion & Healing Theme
  The sisters are reunited, and Totoro’s magic helps them visit their mother, restoring emotional peace even if not solving everything.

• Finale: “My Neighbour Totoro” Theme
  The full company joins in a gentle, uplifting conclusion that celebrates family, resilience, and the quiet magic of everyday life.

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Themes & Tone

• Childhood Wonder vs. Adult Anxiety

• Nature as Comfort and Companion

• Family, Responsibility, and Love

• Magic Without Explanation — Totoro is not a lesson, but a presence

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What Makes Totoro Unique

• Minimal dialogue and very few traditional songs

• Storytelling driven by orchestral music, movement, and puppetry

• Emotional impact comes from atmosphere rather than plot twists

• Ideal for audiences who enjoy visual poetry and gentle pacing

My Neighbour Totoro Review

Highlights

• The movement, puppetry, orchestration, and decorations provide an unforgettable (I dare say Japanese) experience.
• The special effects for Totoro were amazing
• The music was never distracting

Lowlights

• The central plot is fairly weak - basically, two young sisters travel to rural Japan to be closer to their mother (who is recovering in a nearby hospital)

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Oliver! at Gielgud Theatre

Based on Charles Dickens ' famous novel, Oliver Twist, Oliver! is a musical that was highly regarded (and I wanted to see it when visiting London). I purchased the best seats I could find (O16, O17) for Saturday evening's (March 21, 2026) performance at the Gielgud Theater.

Oliver! was very well staged and acted, with excellent special effects and choreography. However, sometimes, it was hard for me to understand the English accent used in the songs.

The standout performance was by Fagin, the king of the pickpockets. He was such a fun character and acted brilliantly on stage. His song "You’ve Got to Pick-a-Pocket or Two" was the highlight of the show.

According to the Gielgud Theater's program:

The cast includes Simon Lipkin (Guys and Dolls, Avenue Q) as Fagin, Ava Brennan (Hamilton, Les Misérables) as Nancy, Aaron Sidwell (Henry VI, Wicked) as Bill Sikes, Aaron MacGregor as the Artful Dodger and Philip Franks (The Rocky Horror Show, Witness for the Prosecution) as Mr Brownlow.

Produced and revised by Cameron Mackintosh, Oliver! is directed and choreographed by Matthew Bourne and co-directed by Jean-Pierre van der Spuy. Designed by Lez Brotherston, lighting is by Paule Constable and Ben Jacobs, sound design by Adam Fisher, video design by George Reeve, original orchestrations by William David Brohn adapted by Stephen Metcalfe; music supervision is by Graham Hurman.

With a sensational score, including Food Glorious Food, Consider Yourself, You’ve Got to Pick-a-Pocket or Two, I’d Do Anything, Oom Pah Pah, As Long As He Needs Me and many more, the Olivier, Tony and Oscar-winning masterpiece vividly brings to life Dickens’ ever-popular story of the boy who asked for more.

🎭 Oliver! – Act-by-Act Synopsis

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ACT I

The musical opens in a grim Victorian workhouse, where orphaned boys suffer hunger and cruelty under the watch of Mr. Bumble and the Widow Corney.

• “Food, Glorious Food”
  The boys dream of a life with enough to eat. Encouraged by the others, Oliver famously asks for more gruel — an act of innocence that lands him in serious trouble.

• “Oliver!” / “I Shall Scream” / “Boy for Sale”
  Bumble and Corney decide Oliver must be rid of. He is sold as an apprentice to Mr. Sowerberry, an undertaker.

• “That’s Your Funeral”
  Oliver’s mistreatment continues, and after a fight with another apprentice, he runs away to London.

• “Where Is Love?”
  Alone and frightened, Oliver longs for kindness and belonging.

Arriving in London, Oliver meets the charismatic Artful Dodger, who introduces him to a lively new “family”.

• “Consider Yourself”
  Oliver is welcomed into a gang of boys led by Fagin, who trains children to pick pockets.

• “You’ve Got to Pick a Pocket or Two”
  Fagin cheerfully explains his philosophy of survival through crime.

Oliver witnesses the darker side of this world through Nancy, a warm-hearted young woman trapped in a relationship with the violent criminal Bill Sikes.

• “It’s a Fine Life”
  Nancy sings ironically about making the best of hardship.

• “I’d Do Anything”
  The boys compete to show their loyalty to Fagin, while Oliver remains innocent and eager to please.

• “Be Back Soon”
  Fagin and the boys set out on a robbery. During a pickpocketing attempt, Oliver is mistakenly accused but rescued by the kindly gentleman Mr Brownlow, who takes him home.

Act I ends with Oliver seemingly safe at last.

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ACT II

Oliver enjoys warmth, books, and care in Mr. Brownlow’s home.

• “Who Will Buy?”
  A lyrical street scene shows London at its most hopeful, reflecting Oliver’s new sense of possibility.

Meanwhile, Fagin and Bill Sikes fear Oliver will betray them.

• “Oom-Pah-Pah”
  In a noisy pub, Nancy tries to drown out her misery with bravado and drink.

• “My Name”
  Bill Sikes asserts his brutal dominance, revealing the danger he poses.

Nancy is torn between fear and compassion.

• “As Long as He Needs Me”
  She expresses her conflicted devotion to Bill, one of the show’s most emotional moments.

Oliver is kidnapped back to the slums, and Fagin debates his own future.

• “Reviewing the Situation”
  Fagin weighs the risks of crime versus respectability, ultimately choosing survival over morality.

Nancy secretly warns Mr Brownlow of Oliver’s danger.

• “As Long as He Needs Me” (Reprise)
  Her resolve strengthens, but Bill discovers her betrayal.

Nancy is tragically murdered by Bill Sikes, who later meets his own violent end while fleeing the law.

In the aftermath:

• “Oliver!” (Reprise)
  Bumble and Corney fall from power as their hypocrisy is exposed.

Oliver’s true identity is revealed — he has inherited a fortune — but more importantly, he has found a home.

• Finale
  Oliver is reunited with Mr Brownlow and the surviving characters, closing the show with a hopeful celebration of compassion, community, and second chances.

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Overall Themes

• Innocence versus corruption

• Chosen family

• Social injustice and moral responsibility

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Oliver! Musical Review

Highlights

• The iconic moment: “Please, sir, I want some more,” which really begins the plot
• Simon Lipkin's performance as Fagin - the king of the pickpockets - was the standout of the show.

Lowlights

• Sanitizing Charles Dickens: Workhouses, abuse, and desperation are turned into lively ensemble numbers like “Food, Glorious Food.”
• Romantizing crime: Fagin (a criminal) seems like such a delightful character
• One-sided characters: Bill Sikes comes out as pure evil

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