We went on a Friday evening to see part of a preview run of this play/production, which went on to have a good long stint at the Aldwych and which had previously been tested at the Yvonne Arnaud Theatre in Guildford (according to my notes) and/ot Theatre Royal Bath according to the Theatricalia entry.
Anyway…
…I have always been partial to a bit of Simon Gray and also partial to a bit of Alan Bates’s acting and Harold Pinter’s directing, so this was a “must see” for me and Janie – hence the Friday evening booking.
Below is a rare review of the actual Richmond performances from the Ealing & Acton Gazette:
This was a West End transfer from the Chichester Festival, which had been so well received that even we set aside our West-End show scepticism to see it in Theatreland.
We weren’t disappointed. This was a very good production of a very good play. It is basically about the denazification investigation of the German conductor Wilhelm Furtwängler.
Michael Pennington & Daniel Massey played the lead roles, investigating officer major Arnold & Furtwängler respectively. Harold Pinter added yet more gravitas by directing it.
Janie and I were very keen on Pinter and also very keen on Complicite, so we took the opportunity to see both on one Saturday during that crazy autumn during which Z/Yen was born.
According to my contemporary log:
Landscape is a short play, seen late afternoon/early evening before seeing “Out of a House Walked a Man”. Very good.
Ian Holm and Penelope Wilton. Top notch performers both,with great Pinter pedigrees too.
What a cast! Daniel Craig, Susan Engel, Clare Holman, Stephen Dillane, Harry Towd…directed by Declan Donnellan too.
I insisted that Janie go alone to see Perestroika and she told me at the time that it was not as good as Millenium Approaches. But was she saying that just to be kind or was she saying that because she got less enjoyment without me or was she saying that because actually the first part is the better part?
I went to see this play with Bobbie Scully. I remember it very well; both of us were very taken with it. It did prove to be a big hit, transferring and being produced again many times.
This original production really was a cracker. I think it pretty much made Jane Horrocks’s name; I don’t think she was all that well known before – perhaps she was known on the TV. Pete Postlethwaite and Alison Steadman were terrific.
I’m not sure what we did for food, but we tended to go to The Archduke or possibly RSJs after the show in those days.
No on-line reviews from those days, so you’ll just have to take my word for it – it was a cracking show. I rated the evening very good in my log, that’s for sure. Several reviews on-line for subsequent versions refer to the 1992 production – click here for the search term that brings those up.
Better yet, below is Michael Billigton’s Guardian review:
I do recall Bobbie telling me about her imaginary friend, some time before this production. But as far as I know that didn’t all go horribly wrong for her. I certainly don’t remember this production generating additional revelations from Bobbie.
My log says “little recollection” for this one, so I guess it didn’t make a big impression. Bobbie was with me.
Pirandello is one of those playwrights whose work I want to like more than actually do like. Or perhaps it is more accurate to say that I tend to enjoy reading his plays, because the ideas are fascinating, but many of them are difficult to produce in an entertaining way – at least to the eyes of the modern audience.
Man, Beast And Virtue is an early Pirandello, written in 1919 (100 years ago as I write in 2019), about two years before his breakthrough play, Six Characters In Search Of An Author.
I rated this production very good indeed at the time and I can understand why. Superb cast, with Michael Gambon as Vanya, Imelda Staunton as Sonia, Greta Scatcchi as Yelena, Jonathan Pryce as Astrov, Michael Blakemore directing…