Coal Digger, NewsRevue Lyric, 17 October 1992

This was a very successful number, which ran for many weeks in many runs of NewsRevue, including the Christmas run I’m pretty sure and then the Bowden run in early 1993. 

It’s a belter, with potential for enough business to keep the audience laughing as well as thinking.

 

♬ COAL DIGGER ♬

(To the Tune of “Goldfinger” with an acapella horn section)

VERSES 1 & 2

Coal diggers,{ba ba ba}

Fear the man,

The man with the miners touch,

A minus touch.

 

Such,

A cold figure,{ba ba ba}

31,

John Major’s no friend of mine,

Nor’s Hestletine.

 

MIDDLE BIT 1

British Coal had a dose of the shits,

So decided to close half the pits,

And the miners all know they’ve been pissed on,

Cos the mining in-dustry’s gone.

 

VERSE 3

Dole figures,{ba ba ba}

Like the men,

Who live in a mining town,

Just won’t go down.

 

MIDDLE BIT 2

All the bosses in power are crass,

Cos they think that they need only gas,

So the miners are once again shafted,

By that coal black hearted bastard.

 

VERSE 4

John Major,{ba ba ba}

Hope he finds,

That trying to shut down coal,

Was an own goal.

 

copyright © Ian Harris 1992

Click here or below for a karaoke version of Goldfinger with the original lyrics on the screen.

 

An Evening With Janie, John & Mandy; Death And The Maiden by Ariel Dorfman, Royal Court Theatre at the Duke of York’s Theatre, 17 October 1992

I believe this was the first time that either John or Mandy met Janie; Janie and I had only been going out together for a few weeks by then.

This was also only the second time that Janie and I went to the theatre together – the first time having been our first date; The Street of Crocodiles.

My diary is a bit of a confusion for that evening – indeed all that it reads is “Madness”…

…which I’m sure means “The Madness of George III”. But my theatre log is very clear that 17 October was this particular evening with John and Mandy and my diary also shows that “George III” reigned on 30 September for me:

What I think happened was that Bobbie, once again, could not make the planned theatre visit to see Madness of George III on 17 October, but was very keen to see that play. I vaguely recall Bobbie arranging a ticket swap with friends so that she/we could see “Madness” midweek a couple of weeks earlier and her friends got the prized Saturday night tickets that I had procured.

That freed up the evening of 17 October for Janie to meet John and Mandy and for all of us to see Death And The Maiden, which was still one of the hottest tickets in town that year, even though Juliet Stevenson (who had wowed audiences as the lead) had moved on.

Penny Downie played the lead in the cast we saw, which, as super subs go, is pretty darned super. Danny Webb and Hugh Ross played the male parts.

Janie and I are struggling to remember what other arrangements we made with John and Mandy around this evening. I think we might have had Chinese food in Soho with them before or after the theatre. Perhaps Mayflower? Or Joy King Lau in those days?

I also realise that my diaries at that time are littered with clues that John and Mandy must have recently moved house around that time:

Guessing that John and Mandy moved to Dangan Road that August, hence the address and phone number scrawled on 12 August…
…did I really escape the carnival 30 August to join John and Mandy in the George at Wanstead 30 August? Guessing that “birthday thing” 28 August would have been with my parents, but I’m not entirely sure about events of that weekend other than the 29 August hot date with Janie.

Anyway, on the day I am writing this up (29 August 2017), we shall be seeing John and Mandy later in the day, so I’ll pick their brains on these matters this evening and update this piece accordingly.

Back to Death And The Maiden.

The play is set in an unspecified nation emerging into democracy from brutal dictatorship. Ariel Dorfman was a Chilean exile during the Pinochet years and the brutal regime is clearly based on that one. It is one of those hugely affecting plays about torture and the abuse of power. It brings to mind also One For The Road by Harold Pinter and Fermin Cabal’s Tejas Verdes.

I’m sure we did something after the play – perhaps we did eat afterwards. For sure we’d have needed a drink. For sure we found a way to discuss and decompress together for a while.

I remember being very pleased that John, Mandy and Janie all seemed to get along so well; in that regard alone the evening was a tremendous success (to use John’s favourite adjective). But it was also an excellent evening of theatre and I’m sure we must have eaten and drunk well…if only Janie and I could remember those details too.

Postscript: A strange coda to this story. Both Janie’s and my diairy say “The Madras House” for this evening, not “Death And The Maiden”. But my log says Death And The Maiden and I have no recollection of going to the Lyric with John and Mandy to see The Madras House – Janie and I saw that play at The Orange Tree many years later. Did we make a late switch of play choice or have the memories and documentary records got into a terrible muddle? I think probably the former.

A Sunday Party With Janie At Cathy’s, 11 October 1992

Another of those early dates when the weekends were someowhat otherwise committed but Janie and I ended up doing somthing together.

My diary says “Annalisa?”for the Friday evening. Janie’s says Questor’s Theatre (with her mum) on the Saturday.

But we both went to Cathy’s party on the Sunday. I’m pretty sure this is Cathy Dyson’s party. I’m pretty sure we’re taking Stoke Newington and I’m pretty sure Cathy and Bruce Martin were an item by then.

The details of the events of the party are lost in the mists of time…

…which means it was probably a good one!

Closed To You, NewsRevue Lyric, 10 October 1992

This was a very successful song in NewsRevue. Not a laugh out loud song at all, but a biting/make you think lyric and room for some business.

“Care in the community” was one of that Major Government’s big things. Not much changes (he says, writing in December 2016).

The song ran for several runs towards the end of 1992 and was part of the early 1993 Bowden submission, although I’m not sure Mark used it.

 

♬ CLOSED TO YOU ♬

(To the Tune of “Close To You”)

(A vagrant wanders the stage, very scruffy, perhaps rummaging in bins, perhaps talking to himself incessantly, perhaps both.  The singer and chorus are clearly disturbed by him and hurry out of his way to take their positions.)

 

VERSES 1 & 2

Why do flies suddenly appear, every time you are near?

Just like fleas, they long to be, close to you.

 

Passers by all avert their eyes, with the fear that implies,

Traversees, don’t want to be, close to you.

 

MIDDLE BIT 1

Everyone who sees the poor believes it’s not their problem,

And the homeless ought to find a job to do,

So they hose the vagrants off the streets,

And hope they bugger off to Waterloo.

 

VERSE 3

That is why all the cops in town, wish that you weren’t around,

{cops in town….wish that you weren’t around}

Endlessly society’s closed to you.

 

INSTRUMENTAL

(During the instrumental the tramp dances with an inanimate object – e.g. a traffic cone – and talks gently to it – e.g. “Good evening, my dear.  Do you come here often.  The hyacinths are particularly beautiful this year.  Would you care for another glass of sherry?”)

 

MIDDLE BIT 2

When the Tories came to power, accountants got together,

And decided they could save a bob or two.

So they closed the residential homes,

Those Tories are more lunatic than you.

 

VERSE 4

That is why cranks roam round the town, since their homes were shut down,

{cranks roam town….since their homes were shut down}

Care in the community’s closed to you.

Care in the community’s closed to you.

 

(Either end it there, or dance off going “Waaahhh, closed to you”)

 

copyright © Ian Harris 1992

 

Click here or below for a link to Close To You by The Carpenters with lyrics on the screen.

 

As Time Goes By or They Flew From Tuscany, NewsRevue Sketch and Medley, 10 October 1992

This was the version of this sketch/medley that was actually used. It is much better than the original version – click here for that – but the original version is interesting because I wrote it before Black Wednesday.

Pearls before swine, my economic predictions, pearls before swine.

Anyway, this post crisis version is funnier. There is an in-between version written a week or so  before – click here – I’m guessing that the director suggested improvements, e.g. switching Gini Bottomley out and Lady Thatcher in, which did make for a funnier sketch.

The early evening show at the Canal Cafe at that time was called “As Time Goes By” – some sort of musical retrospective of 1940s material, which made this sketch/medley especially fitting.

AS TIME GOES BY – NEW IMPROVED VERSION

or THEY FLEW FROM TUSCANY (A Sketch and Medley of Sterling 1940’s Songs)

 

DRAMATIS PERSONAE

 

John Major (Johnny)

Gillian Shepherd (Jilly)

Lady Thatcher (Maggie)

Norman Lamont (Fartface)

 

THE SKETCH

 

(VOICEOVER:And now, for those of you who missed the early evening show – here is an exert from “As Time Goes By”)

 

(The pianist tinkles away at the Second Movement of Rachmaninov’s Second Piano Concerto – a la Brief Encounter.  The music is adagio sostenuto, the voices are staccato.  Paula Tappenden knows all about it.  We start with just Johnny and Jilly on stage.)

 

JILLY:Johnny.

 

JOHNNY:Jilly.

 

JILLY:Oh Johnny.  What’s happened to the economy?

 

JOHNNY:Gerry’s giving us a bally barney, Jilly.  The pound’s doing terribly.

 

JILLY:What about Yankee Doodle Dandy?

 

JOHNNY:Gerry’s giving Yankee Doodle Dandy a bally barney too, Jilly.  The dollar’s doing awfully.

 

JILLY:Oh Johnny.

 

JOHNNY:Oh Jilly.  What are you doing for the old effort?

 

JILLY:I’m in employment.

 

JOHNNY:Gosh, that is unusual these days.

 

JILLY:In the ministry.  Oh Johnny,  this darned economy’s simply ruining all our lives.  I’m sorry.  I’m acting like a bally fool.

 

(Enter Maggie)

 

MAGGIE:Johnny, the economy’s going horribly.

 

JOHNNY:Terribly.

 

MAGGIE:Awfully.  And what about the Treaty?

 

JOHHNY:(offers her a sweety)  Have a choccy, Maggie.

 

MAGGIE:I mean the Maastricht Treaty.  (Maggie pokes her finger at Johnny’s lapel as she says) Johnny, I’ve warned you before, it is a ruinous straitjacket.

 

JOHNNY:(Brushing his lapel)  I thought it was rather trendy.  I got it on special offer in Marks and Spencer’s.

 

MAGGIE:Oh this is hopeless.  Where’s Normy?

 

JOHNNY:Out there in the treasury battling it out with Gerry.

 

MAGGIE:Oh God, I hope he isn’t going to do something silly.

 

(Enter Normy)

 

JOHNNY:Here he comes now, and I rather think we’re all going to do something silly.

 

JILLY:You don’t mean……

 

NORMY:Yes, we’re all going to sing a medley.

 

FALLING IN ERM

(In the Style of Marlene Dietrich to the tune of “Falling in Love again”)

 

I often stop and wonder, why stripy shirted men,

Financial markets plunder, sell pounds and buy yen.

We offer them low taxes, but still those city sharks,

With mobile phones and faxes, dump pounds for Deutchmarks.

 

Falling in ERM,

Sterling’s down the drain,

Valueless again,

So don’t hold it.

 

Falling in ERM,

Sterling is the pits,

Norman’s got the shits,

And can’t help us.

 

DON’T FUCK UP THE ECONOMY

(To the tune of “Don’t Sit Under the Apple Tree”)

 

Don’t fuck up the economy with anyone else but me,

Anyone else but me, anyone else but me (no, no no);

Don’t fuck up the economy with anyone else but me,

We’re screwed financially.

 

We’ve devalued the currency with countries like Germany,

We’ll struggle internally, from now till eternity (no no no);

We’ve devalued the currency to purchasing parity,

With Spain and Italy.

 

WE’LL ERM

To the tune of “We’ll Meet Again”)

 

We’ll ERM don’t know why don’t know when,

But I know we’ll ERM our money pay.

Make Sterling true to the Mark and ECU,

Till the interest rate is ten percent a day.

 

Now we are not in at all,

But the pounds in free fall,

While the Deutchmark’s still strong;

And though Sterling’s now small,

Some of us still recall,

When we used to belong.

 

We’ll ERM don’t know why don’t know when,

It’ll cost us fourteen billion a day.

The above material was used quite a lot, not least the “Don’t Fuck Up The Economy” snippet which found its way into other medleys and even was sandwiched in a Ben Murphy medley in 1993 – I take no credit, nor demerits, for Ben’s other bits:

Here is a link to Marlene Dietrich singing “Falling In Love Again”…

…and below a link to the Andrews Sisters singing “Don’t Sit Under The Apple Tree”…

…and here’s Dame Vera Lynn singing “We’ll Meet Again”:

A Sunday With Janie, 4 October 1992

Not too sure what we got up to this day. In the early days of our relatioship, we had other commitments already pre-arranged. This particular weekend, Janie had her twin Phillie for the weekend, but was expecting to be clear for lunch at Kim’s on the Sunday.

I saw Caroline on the Saturday evening – almost certainly a dinner in a quite fancy but not OTT place) and had another of those “Bridge?” things in my diary for the Sunday. I’m pretty sure that means it fell through.

I have also written:

…not Kim…2.00…Jane

…so I’m guessing the Kim lunch idea fell through and that this was one of the first occasions that Janie and I had a late lunch and spent the latter part of a Sunday together.

Snatchbroker, Snatchbroker, NewsRevue Lyric, 4 October 1992

This song was used in NewsRevue in late 1992 but I don’t think it made the Christmas run nor was it used in the early 1993 Bowden run.

Not my most subtle lyric.

I’m not sure it was especially topical either, other than (presumably) a revival of Fiddler on the Roof was on the go…but then there usually is a revival of that musical on somewhere.

 

♬ SNATCHBROKER SNATCHBROKER ♬

(A Song for Madame and Fresh Tart to the Tune of “Matchmaker Matchmaker”)

(MADAME:There’s no use you working here if you’re fussy, luv.  We have to put up with all sorts.  Accountants, judges, MPs, sports commentators, MPs who are also sports commentators…..)

 

FRESH TART:Snatchbroker, snatchbroker, hire out my snatch,

To men who’ll sleep, in the damp patch,

Snatchbroker, snatchbroker find one who’s clean,

With no germs that I may catch.

 

MADAME:Snatchworker snatchworker I’ll find the match,

Swallow his pride, straight down the hatch,

Snatchworker snatchworker he may well be,

A man who once worked for Thatch.

 

FRESH TART:Oh madame make him a lawyer,

Cos at least then he’ll stick to the rules;

MADAME:But my God the bastard will bore yer,

Cos they rarely know how to use their tools.

 

FRESH TART:Snatchbroker snatchbroker find me a man,

Who doesn’t need taking in hand;

MADAME:Fresh Tart, there’s one thing you must understand,

There’s not even one, in the land.

 

MADAME:Accountants won’t please you, cos they like to work in teams,

They take double entry to logical extremes,

But always pay the right money, true? true;

Try a politician, I may have the man for you,

Was in the cabinet (Aside: in ’62).

It is never easy cash, cos their ego’s hard to stand,

With their speeches and families and early day motions they don’t stay up for long.

 

FRESH TART:Snatchbroker snatchbroker thanks all the same,

I think that I’ll, keep off the game,

I’ll make some cash when I kiss and tell names,

BOTH:So tease your MPs,

No nights of vice,

No sucking toes,

No tax advice,

Until men come up to scratch.

Click here for a link to Matchmaker Matchmaker in the film of Fiddler On The Roof, with lyrics as subtitles. 

 

Midnight Plane To Jordan, NewsRevue Lyric, 3 October 1992

This one was too complicated by half. It would have been very difficult to sing/choreograph. It was a tricky subject (peace talks) and the choice of tune is slow for a comedy song.

I remember trying this out on/with work mates at a BDO Consulting training course. It didn’t go well, although we did have a laugh…at ourselves trying to sing it.

Still I submitted it a few times, including the January 1993 Bowden submission. I’m pretty sure to no avail.

If someone had simply come up with the guts to perform this lyric, I’m pretty sure that peace would have broken out in the Middle East. “Okay, okay, we’ll freeze settlements, we’ll stop terrorising people, just don’t sing us that dirgey song”.

 

♬ MIDNIGHT PLANE TO JORDAN ♬

(To the Tune of “Midnight Train to Georgia”)

VERSE 1

(VOICEOVER:Ladies and Gentlemen, Caesar’s Palace Las Vegas is proud to present, Gladys Flight and the Tips).

 

BA flew too far from Amman {too far from Amman, he couldn’t get there},

So he’s chartered a flight all of his own, oh-oh,

{He said he’s goin’} Said he’s goanna find the man {goanna find the man}

Ohhh-ohhh who runs Jordan land,

That peace talks left behind in the desert sand, oh no.

 

CHORUS 1

He’s leavin’ {leavin’} on that midnight plane to Jordan

{Leavin on the midnight plane} yeh

Said he’s goin’ out to find {goin’ out to find}

An old King who’ll change his mind,

{Wherever he takes that flight, he’d better go and see that Hashemite}

Peace will be with him {I know it will}

On that midnight plane to Jordan {leavin on the midnight plane, bing-bong}

He’d rather give up his oil {give up his oil}

Than let the peace talks decline {crude oil for peace this is not refined}

 

VERSE 2

He kept dreamin’ {dreamin’} ohhh that soon he would see Hussein

{that’s King Hussein, cos Saddam is insane}

And he’ll ask that Sunni whether he’ll come round soon for Dinar

{cash could make his dreams come true, ah-ha, oh-oh}

He’ll invite al-Assad {ooh-ooh-ooh-ooh}

And even Yitzhak Rabin {ooh-ooh-ooh-ooh}

But poor Yassar Arafat, has to take, the other’s scraps,

Oh yes he does, that’s how it is.

 

CHORUS 2

I know he’s leavin’ {leavin’} on that midnight plane to Jordan

{Leavin on the midnight plane} yeh

Said he’s goin’ out to plan {goin’ out to plan}

A partition of the land

{He had better mediate, else it’s goanna be like ’48}

Peace will be with him {It better had}

On that midnight plane to Jordan {leavin on the midnight plane, bing-bong}

He’ll have to find an accord {find an accord}

Where land is in high demand

(Repeat favourite bits  with ooh-oohs and aah-aahs while dancing off)

copyright © Ian Harris 1992

Click here or below for Gladys Knight and the Pips singing Midnight Train To Georgia with the original lyrics on the screen.

Here’s a revised version of the lyric which I tried again in September 1993:

MIDNIGHT PLANE TO JORDAN – PEACE TALKS VERSION

(To the Tune of “Midnight Train to Georgia”)
 
VERSE 1
 
El Al flew too far from Amman {too far from Amman, he couldn’t get there},
So he’s chartered a flight all of his own, oh-oh,
{I say he’s Warren} Say he’s Warren Christopher {Warren Christopher},
Ohhh-ohhh to see Mustapha,
Who is the guest-of-a, Jordan desert king, oh oh.
 
CHORUS 1
 
He’s leavin’ {leavin’} on that midnight plane to Jordan,
{Leavin on the midnight plane} yeh
Said he’s goin’ out to find {goin’ out to find}
An old King who’ll change his mind,
{Wherever he takes that flight, he’d better go and see that Hashemite}
Peace will be with him {I know it will}
On that midnight plane to Jordan {leavin on the midnight plane, bing-bong}
He’ll have to give up his oil {give up his oil}
Or let the peace talks decline {crude oil for peace this is not refined}
 
VERSE 2
 
Warren’s dreamin’ {dreamin’} ohhh that soon he will see Hussein
{that’s King Hussein, cos Saddam is insane}
And he’ll ask that Sunni whether he’ll come round soon for Dinar
{cash could make his dreams come true, ah-ha, oh-oh}
He’ll involve al-Assad {ooh-ooh-ooh-ooh}
And even Yitzhak Rabin {ooh-ooh-ooh-ooh}
And Hannan Ashwari, and Ya-sser Arafat,
Unless he sends, some other pratt.
 
CHORUS 2
 
Amd they’re all leavin’ {leavin’} on that midnight plane to Jordan
{Leavin on the midnight plane} yeh
They’re all goin’ out to plan {goin’ out to plan}
A partition of the land
{Someone better mediate, else it’s gonna be like ’48}
Peace will be with them {It better had}
On that midnight plane to Jordan {leavin on the midnight plane, bing-bong}
It’s hard to find an accord {find an accord}
Where land is in high demand.

As Time Goes By or They Flew From Tuscany, NewsRevue Sketch and Medley, 2 October 1992

This version of the sketch/medley came between the prophetic pre Black Wednesday original version – click here

…and the improved version that was eventually used.

This version for completists only – hence published as an aside.

AS TIME GOES BY or THEY FLEW FROM TUSCANY (A Sketch and Medley of Sterling 1940’s Songs)

 

DRAMATIS PERSONAE

 

John Major (Johnny)

Virginia Bottomley (Gini)

Gillian Shepherd (Jilly)

Norman Lamont (Fartface)

 

THE SKETCH

 

(VOICEOVER:And now, for those of you who missed the early evening show – here is an exert from “As Time Goes By”)

 

(The pianist tinkles away at the Second Movement of Rachmaninov’s Second Piano Concerto – a la Brief Encounter.  The music is adagio sostenuto, the voices are staccato.  Paula Tappenden knows all about it.  We start with just Johnny and Gini on stage.)

 

GINI:Johnny.

 

JOHNNY:Gini.

 

GINI:Oh Johnny.  What’s happened to the economy?

 

JOHNNY:Gerry’s giving us a bally barney, Gini.  The pound’s doing terribly.

 

GINI:What about Yankee Doodle Dandy?

 

JOHNNY:Gerry’s giving Yankee Doodle Dandy a bally barney too, Gini.  The dollar’s doing awfully.

 

GINI:Oh Johnny,  this darned economy’s simply ruining all our lives.  I’m sorry.  I’m acting like a bally fool.

 

(Enter Jilly)

 

JILLY:Hello Gini.

 

GINI:Hello Jilly.  Do you know my friend Johnny?

 

JILLY:Hello Johnny.

 

JOHNNY:Hello Jilly.  What do you do for the old effort?

 

JILLY:I’m in employment.

 

JOHNNY:Gosh, that is unusual these days.

 

JILLY:In the ministry.  Gosh, Johnny, economy’s going horribly.

 

JOHNNY:Terribly.

 

JILLY:Awfully.  Where’s Normy?

 

JOHNNY:Out there in the treasury battling it out with Gerry.

 

GINI:Oh God, I hope he isn’t going to do something silly.

 

(Enter Normy)

 

JOHNNY:Here he comes now, and I rather think we’re all going to do something silly.

 

JILLY:You don’t mean……

 

NORMY:Yes, we’re all going to sing a medley.

 

FALLING IN ERM

(In the Style of Marlene Dietrich to the tune of “Falling in Love again”)

 

I often stop and wonder, why stripy shirted men,

Financial markets plunder, sell pounds and buy yen.

We offer them low taxes, but still those city sharks,

With mobile phones and faxes, dump pounds for Deutchmarks.

 

Falling in ERM,

Sterling’s down the drain,

Valueless again,

So don’t hold it.

 

Falling in ERM,

Sterling is the pits,

Norman’s got the shits,

And can’t help us.

 

DON’T FUCK UP THE ECONOMY

(To the tune of “Don’t Sit Under the Apple Tree”)

 

Don’t fuck up the economy with anyone else but me,

Anyone else but me, anyone else but me (no, no no);

Don’t fuck up the economy with anyone else but me,

We’re screwed financially.

 

We’ve devalued the currency with countries like Germany,

We’ll struggle internally, from now till eternity (no no no);

We’ve devalued the currency to purchasing parity,

With Spain and Italy.

 

WE’LL ERM

To the tune of “We’ll Meet Again”)

 

We’ll ERM don’t know why don’t know when,

But I know we’ll ERM our money pay.

Make Sterling true to the Mark and ECU,

Till the interest rate is ten percent a day.

 

Now we are not in at all,

But the pounds in free fall,

While the Deutchmark’s still strong;

And though Sterling’s now small,

Some of us still recall,

When we used to belong.

 

We’ll ERM don’t know why don’t know when,

It’ll cost us fourteen billion a day.

The Madness of George III by Alan Bennett, Lyttelton Theatre, 30 September 1992

I believe we did a date swap for this one. It is in my diary for Saturday 17 October, but I ended up going to see Death And The Maiden with Janie, John and Mandy that night.

I think Bobbie had a problem with that October weekend and we arranged to swap with a friend of hers to see this production midweek, on 30 September.

My production log says:

Went with Bobbie. Very good.

So what else is there to say? I remember it being a very big, busy play, with an enormous cast of courtiers attending to the protagonists. I remember laughing quite a lot. I suspect I would find it a bit cheesy if I saw it again now.

Nigel Hawthorne was very impressive and I suppose it is “quite a thing” that I saw him perform live.

The Wikipedia entry links to rave reviews on both sides of the channel. The subject matter very naturally had appeal for the USA so it is no surprise that it was also a hit there and also made into a film.

I was probably quite tired that evening, as the diary shows I spent a long day flying up to West Lothian the day before on business – that will have been Sky with Michael – a memorable working day.

I suspect that this was the last time I went to the theatre with Bobbie. We probably had a post theatre meal, perhaps at the RNT itself or perhaps somewhere like RSJs or the Archduke.

Here is the Theatricalia entry for this production.

Below is Michael Coveney’s review from the Observer:

Madness of George III, Michael CoveneyMadness of George III, Michael Coveney Sun, Nov 24, 1991 – 59 · The Observer (London, Greater London, England) · Newspapers.com

Below is Michael Billington’s review from The Guardian:

Madness of George III, BillingtonMadness of George III, Billington Sat, Nov 30, 1991 – 25 · The Guardian (London, Greater London, England) · Newspapers.com