I noted that this was a very good production and I’m sure that was true. Richard Eyre in charge of an infeasibly good cast in that intimate little Cottesloe Theatre.
…David Burke, Michael Bryant, Jeremy Northam, Graham Crowden, Sarah Winman, Stella Gonet, Selina Cadell, Suzanne Burden, Wendy Nottingham… it was difficult to work out which names from the cast list to leave out from this highlights version of the list.
In truth I don’t think Granville-Barker is really for me. I find his plays stylised and very Edwardian – which is, after all, what they are.
This one is at least replete with interesting moral dilemmas but in truth it’s not Ibsen.
But I do recall really enjoying this particular evening in the theatre and I suspect that this is the best Granville-Barker experience I have ever had and ever will.
I don’t recall exactly what Bobbie thought of it but I think she, like me, was much taken with the production. I also don’t recall what we did (i.e. where we ate) afterwards. Bobbie might just remember.
I don’t have great memories of seeing this opera, but I think my memories of it are more closely linked to my general mood that weekend than to any intrinsic issue with the opera/production…
…other than to say that this experience probably helped to kick off the view, which has become a prevailing one, that opera ain’t me.
Bobbie was there for this one, as was Ashley Fletcher – yes, my memory definitely serves me correctly for this one, as the diary makes clear that Ashley was down for the weekend and stayed in the tower – i.e. the annex to my flat in Clanricarde Gardens – so named, by Ashley, as he felt that the place would be suitable for the detention of a mad and/or elderly relative. That annex now serves as my office – renamed the ivory tower – a more liberal purpose and name.
…a few days before I wrote up this piece, about Don Giovanni.
Postscript after seeing Ashley in April 2019: Ashley has no recollection of that weekend. So we must rely on Bobbie’s memory that I was tripping out on tiredness and rather freaked at the thought of going out to get some additional soap, as there was none for Ashley in the shower of the tower. If I really did say words to the effect:
I did not envisage this weekend as a soap buying weekend…
…that would have to be up there amongst my most autistic utterances ever. I have a dreadful feeling that Bobbie’e memory is going to be bang on regarding that point.
I don’t remember all that much about this one, which probably means that I found it somewhat impenetrable, as is sometimes the case with Caryl Churchill plays.
I have the play text, so perhaps I should have a read to refresh my memory about this play/production. Or perhaps Bobbie can help.
Postscript
I have now reverted to the text and it sort-of comes back to me. The diary also tells me that we sat in seats D9 & D10 and that they were £10 tickets that Saturday. Good value, I suppose.
My log suggests that we thought this production was good. I’m not a huge fan of Wesker’s plays; in fact this one sticks in my memory as probably the most interesting of all those I have seen and read.
This was the famous (or perhaps infamous) National Theatre production of Hamlet which took Daniel Day-Lewis to the very edge of reason and from which he quit part way through the run.
I went very early in the run – in fact it might even have been a preview – with Annalisa. I suspect that I had booked the thing with Bobbie in mind, but so long before the appointed date that Bobbie could no longer make it.
Let’s just say that, back then, I thought of Shakespeare as more Bobbie’s thing than Annalisa’s thing. Annalisa has latterly assured me that theatre, including Shakespeare, was very much her thing.
Anyway, I recall that we sat right at the front of one of those side wedges in the Olivier – you are very close to the action there, especially when the action is on your side of the stage.
I also recall that Daniel Day Lewis was a very wet Hamlet – by which I mean sweating and spitting his lines. Annalisa remarked afterwards that we should have taken umbrellas with us had we known.
It was a superb production, with a great many big names and several names that weren’t big then but went on to be big. National productions were a bit like that in those days – some still are I suspect.
I was motivated to write up this theatre visit while sitting at Lord’s in September 2018 watching, for the first time, Ethan Bamber bowl live. His father, David, was Horatio in this Hamlet production, nearly 30 years earlier.
Other big names/fine performances included Judi Dench, John Castle, Michael Bryant, Oliver Ford Davies & Stella Gonet. A young Jeremy Northam had a small part in the version we saw but stepped up to the plate when Daniel Day-Lewis walked out. Later in the run, Ian Charleson took on the role to much acclaim, just before he died.
I think this was still quite early in Richard Eyre’s tenure at the National and he directed this one himself, extremely well.
My only other recollection is a quote that Annalisa picked up from an American visitor to the National, who told his wife that he didn’t think all that much of the play – “too many of the lines were clichés”. I guess you can’t please everybody.
Postscript: An Enthusiast From Across The Pond Sought Help…
…in March 2024 I received some unusual correspondence from a gentleman in the USA, wondering whether I still had the programme (or playbill in his terms) as he was keen to see Daniel Day-Lewis’s biography notes from that production.
I have mentioned before that Ogblog serves as a fifth emergency service on occasions and this felt like such an occasion. No sirens or speeding vehicles through the streets of London needed, but I fortuitously was able to lay my hands on this particular programme with relative ease, having not yet returned that batch to deep storage.
I went to see this production at the Almeida with Kate (previously and latterly Susan) Fricker. I rated it as very good and I’m pretty sure that Kate really enjoyed this production too.
It was an adaptation of a short Pushkin play about the interaction/rivalry between the two composers. This play inspired Peter Shaffer to write Amadeus on the same topic but the pieces are quite different other than the core topic. Here is the Wikipedia entry about the play.
The dates on these reviews imply that Kate and I attended a preview in March 1989.
The diary is silent about what Kate and I did before or after the show; I’m sure we will have eaten something or at least taken some refreshment and had a chat. Perhaps Kate remembers.
My memory isn’t brilliant on this one. I would have sworn that we saw Stella Gonet opposite Tilda Swinton in this, but all the evidence says we saw Lore Brunner. I can see no sign of ever having seen those two (Swinton and Gonet) on stage together, although both were prominent in the leading roles we were seeing at that time.
In any case, I believe this was only my second visit to the Almeida, the first having been some six months earlier, to see Hello And Goodbye. I do recall falling for the Almeida as a place itself on this second visit – whereas that first visit I was simply bowled over by the production and didn’t especially associate that visit with the Almeida. That was partly, I think, because Kate was especially taken with what they seemed to be doing at the Almeida in terms of restoring an old theatre for modern use.
I liked this play/production a lot. I don’t think I’d seen Alfred Molina before and was very taken with his acting. Colin Stinton was excellent too, as was Rebecca Pidgeon.
It’s a play about the movie business. As is often the case with Mamet plays about the world of work, Mamet captures the pressure-cooker atmosphere of the work place extremely well – an aspect that is often lacking in plays – perhaps because playwrights haven’t spent much of their lives in the actual hard-nosed world of work.
Theatricalia has an entry for this one – click here.
There are some #MeToo elements to this play that, obviously, weren’t perceived as #MeToo at the time because #MeToo hadn’t been invented – although movie business males belittling movie business females had been invented.
A midweek visit to the theatre with Bobbie. How on earth we ended up at the National for a major production on press night I have no idea – perhaps a couple of Bobbie’s journalist friends/colleagues had to divest themselves of a pair of tickets at short notice.
Midweek theatre was a habit we had acquired during my quieter months in late 1988 but this was not a sensible idea once my Binders career got going, as I might be deadline-ridden or out of town at the drop of a hat in my new career – so such mideweek jaunts became rare.
I don’t recall being quiet at work, though, so I must have been immersed in something or things that didn’t require meetings. I think I ran a tendering process or two, got involved with some proposal writing and helped out on a few projects staffed by people who didn’t really “get” accounting.
One thing I most certainly wasn’t doing was strutting around the office like a “paycock”. Which brings us back neatly to the matter at hand – a Wednesday evening visit to the National to see Juno and the Paycock with Bobbie.
It is hard to find any information on-line about the 1989 production, although some of the 2011 reviews hark back to the earlier production. But take my word for it that the 1989 production was good. I’m pretty sure it got good notices. Bobbie might remember yet more about it than I do. I’ll ask her.
David Hare plays have a tendency to irritate me, especially those plays that seem to come at moral and/or political issues with some preachy certainty – even if I agree with Hare’s position, which often I do.
I recall The Secret Rapture having enough moral dilemma and ambiguity about Thatcherism to keep the thought and concentration going throughout the play and for some time afterwards too.
They made a movie of this play a few years later…mostly different cast…
…I don’t really recognise the play I saw from this trailer at all:
In short, I remember thinking the play/production that we saw was very good. I went with Bobbie.
I’m not sure what we did afterwards; perhaps we ate out or perhaps I prepared some food for afterwards, as I was in the mode to do that in those early days at Clanricarde Gardens.
Billington on Voysey Thu, Jun 29, 1989 – 24 · The Guardian (London, Greater London, England) · Newspapers.com
Kellaway on Voysey Sun, Jul 2, 1989 – 41 · The Observer (London, Greater London, England) · Newspapers.com
