To the Royal Festival Hall in deep midwinter with Bobbie, as part of the BBC Symphony Orchestra 60th Anniversary festival. We went to a couple of these concerts; this was the second of them.
Stephen Bishop-Kovacevich waved the stick and David Butt played the flute. We heard three great works by Wolfgang Amadeus Mozart:
Symphony No 39 in E Flat Major
Flute Concerto in G Major, K313/KE285c
Symphony No 40 in G Minor, K550
I’m not sure this was a perfect fit of conductor and orchestra for these works, but it was lovely to hear these familiar pieces in the Royal Festival Hall. I cannot find any newspaper archive reviews for this one, so my one-line review based on a memory of an event from nearly 34 years ago (as I write) will have to do.
I loved this wonderful monologue, written and performed by Wallace Shawn. At the time, in my log, I declared it to be:
Excellent.
Thirty years on, writing in late January 2021, I remember it vividly and now, in the time of Covid and dysfunctional politics, it seems so apposite and prescient.
This was the first time I saw Wallace Shawn and/or his work live. I had previously enjoyed his film work, not least My Dinner With Andre, so was thrilled to see him perform.
I saw this original, authoritative performance with Bobbie Scully. It was a National Theatre/Royal Court Theatre joint production. Why don’t they do this more often? Here is a link to the RNT archive record for it. It showed at The Royal Court Theatre Upstairs and at the Cottesloe – we caught it at the latter.
Strangely, the text of the piece is in the public domain – I assume by design – so if you want to read the draw-droppingly still-relevant piece, it can be read here. Or if that link ever fails, try this scrape here.
If you click through the 2009 piece to Michael Billington’s review of that production, he confesses to having been smitten with the piece the first time. That tells us that Michael Billington goes to see stuff at the theatre even when it isn’t his turn to write the review. Now THAT’s a theatre enthusiast! Nicholas de Jongh – you’re outvoted!
Bobbie and I went to a couple of Friday evening concerts at The Royal Festival Hall as part of the BBC Symphony Orchestra’s 60th Anniversary festival.
We were supposed to see the great Günter Wand performing a couple of Beethoven Symphonies, but Günter pulled out at the last minute so Andrew Davis decided to shake a stick at one of Günter’s signature pieces:
Anton Bruckner – Symphony No 8 in C Minor.
Hence, a one piece concert, this.
I did subsequently get to hear and see Günter perform this piece with the BBC Symphony Orchestra at what turned out to be his last BBC Prom hurrah – another occasion when we turned up to hear one set of pieces and got Bruckner 8 instead.
It’s just as well that I like Bruckner 8. I guess I have become mighty familiar with it over the years, collecting four Bruckner 8’s in 10 years between 1989 and 1999.
Malcolm Hayes in The Telegraph was unsure about this brave (but in his view, flawed) 1991 attempt:
This is one of the very first comedy lyrics I wrote – for no particular purpose other than to amuse myself and friends.
I later adapted it to make it a little topical and it was used in NewsRevue.
Here is that 1991 original lyric:
BUILD A ROCKET OR TWO (A Song to the tune of “Pick a Pocket or Two” from “Oliver!”) VERSE ONE In this world, one thing counts, On defence, large amounts. Missiles like these, Don’t grow on trees; You’ve got to build a rocket or two, You’ve got to build a rocket or two, boys, You’ve got to build a rocket or two. Guns like these, Don’t grow on trees, You’ve got to build a rocket or two. VERSE TWO Why should we, pay more tax, For warheads, with Anthrax? Splat ’em en masse, With mustard gas; You’ve got to build a rocket or two, You’ve got to build a rocket or two, boys, You’ve got to build a rocket or two. Germs like these, Don’t spread with ease, You’ve got to build a rocket or two. VERSE THREE If it’s Nukes, that you choose, Build a Scud, or a Cruise. Kill with aplomb, By Neutron Bomb; You’ve got to build a rocket or two, You’ve got to build a rocket or two, boys, You’ve got to build a rocket or two. Fallout? These, Last centuries, You’d better build a bunker or two.
That was my verdict in my log and that is my recollection of this production, which I saw with Bobbie.
I also saw the Donmar production in 2003 with Janie. I preferred the 1991 version. Perhaps it was the version or perhaps I had outgrown the play a bit by 2003. Both were excellent productions. I shall write up the Donmar production in the fullness of time.
Meanwhile, in 1991, Alan Cumming played the lead and won the Best Comedy performance Olivier award that year for his trouble. Cumming was involved in the adaptation for the version performed, along with Tim Supple who directed it..
That visit to the theatre was part of a highly active weekend, by the looks of it.
I test drove a Honda in the morning before the play – this was presumably to ascertain whether it would make sense for me to take the souped-up automatic Honda Civic (which subsequently became known as “Red Noddy”) from the Binder Hamlyn car pool, in exchange for my less impressive Renault stick-shift. The answer was yes.
On the Sunday I had lunch with Jilly Black (location lost in the mists of time) and went to Pam & Michael’s place in the evening – possibly for bridge or possibly just supper.
I have strong memories of this one. Just one word in my log:
Superb.
It was a convoluted process getting to see it, as I was really suffering with my back knack when this production opened in London (October 1990; it had spent the spring and summer at the Abbey Theatre in Dublin).
Anyway, Bobbie and I sorted out some good tickets for just before Christmas and my goodness this one was worth seeing.
Excellent cast, including Brid Brennan, Stephen Dillane and Alec McCowen. In truth I don’t know Director Patrick Mason for anything else but he can come visit again.
I remember early the next year recommending it to a Dutch software developer, Gerard Mey, who was working on a project with me in London and asked me to recommend a show. I wondered if it was too challenging for someone who does not boast English as a first language. Gerard told me how much he enjoyed it, while admitting that he found some of the language difficult, but said that his head had been full of so many interesting thoughts and ideas since seeing it. That’s a recommendation in my book!
I’ll leave it to the experts to explain in their words just how good this show was.
Michael Billington spoke very highly of it in The Guardian
no recollection really. Possibly went with Moose. Had to give away earlier tickets due to back injury.
The reason I think I might have gone with Moose (Mara) is because my diary says I spent the previous evening with Moose and her mum Rita and her mum’s friend Mave. Click the link if you are wondering who these people are and where they fitted in to the grand scheme of things at that time…as if there was or is a grand scheme of things.
If it wasn’t Moose that evening, I think it would have been Bobbie, but my guess is that Bobbie took the October tickets from me when I was too knacked to go.
An exceptional cast for this Trevor Griffiths piece. The Theatricalia entry can be found here. Penelope Wilton, Stephen Moore, Stephen Rea and a terrific National Theatre ensemble directed by Howard Davies.
I don’t think I was as impressed as the critics had been. Chekhovian only tends to work for me when it is actual Chekhov, as the great man was the master of that kind of drama. Chekhovian in the hands of others generally seems a bit slow and pointless. I’m possibly being a bit unfair on this one.
Michael Billington in The Guardian spoke highly of the play/production:
I went up to Stratford with Moose (Mara Frank) where we saw this wonderful production of Much Ado. My log, I think mistakenly, suggests that we also saw Troilus And Cressida on that trip, but I suspect that I saw a preview of Troilus on my tod in April when in the Midlands for other reasons, perhaps procuring the programme when returning to Stratford with Moose and thus confusing myself a few years later.
Anyway…
…this was a great show. Susan Fleetwood as Beatrice, Roger Allam as Benedick, John Carlisle as Don Pedro, a fine supporting ensemble and the very capable hands of Bill Alexander directing.
It was my “get out of jail” weekend. Michael Durtnall (my chiropractor) had insisted that I “lock down” for a month to enable my back to start healing – otherwise he wouldn’t treat me. More on that elsewhere, but basically this weekend was the end of my confinement and boy did I make the most of it with Bridge on Friday, this theatre visit on Saturday and a wedding on the Sunday.
I am very keen on David Edgar so we (me & Bobbie) will have long before booked to see this just after press night. I was very pleased to have negotiated my way out of lockdown to see this.
All I wrote in my log is:
Very good. Neil Kinnock and his entourage were there the night we went.
At the time Neil Kinnock was leader of the opposition. I don’t know whether he and/or his entourage took notes during this paly, but it was a political drama to be sure.
It is set in an unspecified former communist country that resembles the former Czechoslovakia.
Excellent cast; Karl Johnson, Stratford Johns and Katrin Cartlidge standing out in my mind.
I’m very partial to Athol Fugard’s work, but thirty years on, I remember very little about this one. Even the log, which was only a few years after the event, says:
Little recollection, strangely.
I saw this with Bobbie Scully, who seemed keen to see Fugard with me back then. Janie also has a taste for his work.
I think the problem for me/us was that it was a story that pre-dated Nelson Mandela’s release but we were seeing it very soon after that momentous event. In that sense it felt a bit like old news, although of course the injustices and arguments depicted were still (are still) relevant.
