This production was credited as “Donmar Warehouse at the Albery” and everything about it was Donmar Warehouse, but playing away from home. This production had received glowing reviews and awards the year before at the Donmar. We missed out then but were not about to miss out on it now.
Excellent cast, Nigel Lindsay, Sarah Woodward, Stephen Dillane & Jennifer Ehle leading, with David Leveaux directing.
Our “Donmar Warehouse at The Albery” experience was a more relaxing evening and a very fine production. Janie doesn’t really warm to Stoppard, but she did warm to this one.
I won’t overdo the reviews, as they are from the original production 9 months earlier, but here’s just a couple of examples of the raving – the first from our friend Michael Billington in The Guardian…
I think Janie must have sourced these tickets, because her diary notes that we’ll be sitting in the fifth row. Great diary detail, 25 years on, that one.
A delicious concert of baroque, mostly sacred, music at The Wig. We had thrown ourselves into the baroque season that year, venturing even on a Wednesday evening, which was usually off limits in our busy lives back then. I recall that the effort was well worth it.
We heard:
Johann Heinrich Schmelzer – Sonata no 8 in G
Sebastian Knüpfer – Wenn Mein Stundlein Vorhanden Ist
Johann Sebastian Bach – Mass in G Minor, BWV 235
Johann Sebastian Bach – Mass in G Major, BWV 236
Georg Muffat – Sonata ‘a cinque’ in D
Johann Kuhnau – Tristis Est Anima Mea
Back then, The King’s Consort was a bit of an “all stars” affair in the early music world, with Carolyn Sampson, Rebecca Outram, Charles Daniels and Andrew Carwood, to name but four, all appearing under Robert King’s banner.
Some unusual pieces in there too. Let’s see if I can dig out some tasty samples. Here’s a sweet performance of the Schmelzer by Ensemble Masques
The Knüpfer was part of The King’s Consort’s recording projects around that time. Here is their recording:
The first of the Bach Masses at the centre of this concert, BWV 235, has been beautifully recorded live by the Netherlands Bach Society.
Here is Herreweghe’s version of the Kyrie from the Bach Mass BWV 236. You can load and click through for the whole of this mass if you wish:
The King’s Consort had also recently recorded the Kuhnau a couple of years before this concert. Here is their beautiful recording.
For a brief while, that little theatre in Chelsea, near World’s End, was one of our favourite fringe places. Janie and I rated this piece as:
Very good.
Small scale and domestic – that tiny theatre didn’t lend itself to scale works, this one, like the other plays we saw there during that period, held our attention, entertained us and made us think.
Not much in the way of formal reviews to be found, but here goes. Rachel Halliburton in the Independent was sufficiently convinced to write it up briefly:
In truth we don’t remember much about this one. I made no notes in my log about it. I think we quite liked it, but it felt like fairly standard Hampstead Theatre fare.
The Hampstead was still in the portacabins back then, so small, chamber-style work was all the place comfortably could do. Still, we liked the place and went occasionally.
We saw it on a Friday evening, so no doubt, in those days, we went to Harry Morgans in St John’s Wood for some crazy=cracing-J-food on the way to the theatre.
I had been a fan of Athol Fugard for many years by then and was very keen to see his long-time associates, John Kani & Winston Ntshona, perform. A set up that can lead to disappointment, but in this instance my enthusiasm was fully justified.
This play/production was hugely hyped and got rave reviews when it opened a few week’s before we attended. I think we applied for our tickets before the show opened, opting to wait until good seats were available. Even then, we needed to opt for a Friday rather than a Saturday to get what we wanted. Such was the pull of the West End, not least Maggie Smith…or rather “Dame Maggie”…in those days.
Despite Janie’s reservations about Dame Maggie, we were drawn in and actually rather enjoyed this production. The play is a little contrived and mawkish, but the performances, especially Dame Maggie’s, were excellent, as was the intriguing van-themed set.
I learnt of Ivan’s passing a few days later, I believe.
I recall John Random phoning me and also asking me what I thought he should say in the Independent newspaper obituary piece he had been asked to write. I remember saying that I thought the irony, dying while undertaking activity to try and get fit, would not have been wasted on Ivan. I was chuffed that John used that idea at the start of his obituary – transcribed in the biography above and scanned, with thanks to John Random, below.
John has also, kindly, scanned one or two other obituary pieces:
Along with several other fellow NewsRevue writers, I attended Ivan’s funeral at Hoop Lane Crematorium. I remember the comedic touch of Ivan’s trademark hat sitting atop the coffin. I remember feeling so very sad for Elspeth, Ivan’s partner.
I remember how awkward everyone felt; we were a comedic lot, struggling to deal with a tragic situation. To what extend could/should we make light of any part of the event? To be sure it was not a time for mordant or sardonic humour. I concluded that many comedy writers are, at heart, amongst the most maudlin people on earth.
Yet a magnificent thing emerged from this tragedy.
A few week’s before his untimely death, Ivan sent an e-mail to the few of us who were already e-mail friendly, suggesting that, although several of us had started to drift away from the regular NewsRevue gatherings, it would be nice to meet occasionally in any case, perhaps dine together, perhaps watch the show or perhaps both.
A few of us at the funeral concluded that we really must implement that lovely idea. John Random picked up the mantle and we have met several times a year, every year, since.
The first was, I think, around May 2000. I’ll write it up in the fullness of time. I have written up most of the more recent ones – see above link (repeated here). The next one (at the time of writing) is scheduled for early April 2020.
Ivan would have loved those events. He would also have loved the idea that he initiated and caused them.