Sizwe Banzi Is Dead by Athol Fugard, John Kani, Winston Ntshona, Lyttelton Theatre, 24 March 2007

Two weeks in a row to the National Theatre (RNT) and two theatre visits out of three to see John Kani perform in one of his own plays.

This one, a revival of one of the most famous works to come out of the defiant anti-apartheid theatre in South Africa in the 1970s, in some ways pleased us less than Nothing But The Truth at the Hampstead a few weeks earlier. 

Nothing But The Truth by John Kani, Hampstead Theatre, 9 February 2007

Again, we really wanted to like it. We had loved The Island when we saw the revival of that one. But Sizwe Banzi seemed an altogether lighter and more dated work. The play has some great lines and some excellent points to make, but didn’t move us as we felt it should.

Yes, we were glad to have seen it, but it was a bit like seeing a band of ageing rockers whom you wished you had seen “back in the day”. The point was back in the day.

It got pretty good reviews – click here to find them.

Below is a short excerpt of John Kani and Winston Ntshona performing the play back in the day – early 1980s I think.

The Reporter by Nicholas Wright, Cottesloe Theatre, 17 March 2007

I remember us both finding this piece about low-level BBC shenanigans interesting and enjoyable – despite a suicide forming the denouement (that is not a spoiler). I suspect, given subsequent events at the BBC, it would seem tame and much beside the point today.

I think I picked up the terms “cruel spectacles” and “waning powers”, both of which I use a fair bit, from this particular show.

Great cast, with Ben Chaplin, Paul Ritter, Bruce Alexander, Angela Thorne and Leo Bill really standing out.

Well directed by Richard Eyre and produced of course to RNT standards.

Reasonably well received by the critics – click here for a search term to find reviews.

It was worth seeing at the time for sure.

Nothing But The Truth by John Kani, Hampstead Theatre, 9 February 2007

We really wanted to like this piece a lot.

John Kani is a bit of a legend of South African theatre, having been so influential in Athol Fugard’s plays and the like.

The subject matter – Truth and Reconciliation and all that – was right up our street. It was great to see John Kani performing in his own play.

In truth, this piece did less for us than we’d hoped.

It was well produced and well acted. Perhaps it had been built up so much as a modern classic that it was bound to disappoint us a bit.

It had some good moments and we were pleased to have seen the piece, but it didn’t really grab us the way we had hoped.

By way of contrast, the play we saw downstairs a few years later, A Human Being Died That Night – click here or below…

A Human Being Died That Night by Nicholas Wright, Hampstead Theatre Downstairs, 10 May 2013

…really did grab us. Coincidentally, our next visit to the theatre was to see a Nicholas Wright – The Reporter.

Click here for a link to reviews and stuff – mostly very good – on Nothing But The Truth.

Below is a clip from a Cape Town production of the piece, but without John Kani himself performing:

Below is an interview with John Kani:

There Came A Gypsy Riding by Frank McGuinness, Almeida Theatre, 13 January 2007

Janie and I are very keen on Frank McGuiness’s plays and this one is a good example of why that is so.

It sounds like the scenario for so many Irish plays – a family gathers to celebrate a birthday in a remote cottage in the West of Ireland…just take my word for it that this one is/was special.

Click here for the Almeida resource on this play/production.

Wonderful cast, superbly directed and produced – this is what the Almeida does best.

This link – click here – finds the reviews and stuff – mostly excellent ones.

I recall that we felt our year of theatre going was properly up and running after seeing this one.

Gertrude’s Secret by Benedick West, New End Theatre, 5 January 2007

Our first theatre visit of that year, to the tiny New End Theatre in Hampstead. Wicked difficult to park around there and I seem to recall a very cold, perhaps even slightly icy evening.

The evening was a bit of a “West Fest”, with roles not only for Benedick as writer but also second-cousin-by-marriage Prunella Scales and young Jerusha West performing.

The New End Theatre is a quirky place – a converted mortuary, which only seats a few dozen people.

I remember observing to Janie that Prunella Scales had seen me perform in front of far larger audiences than that of the New End. When I was in Alleyn’s School plays, the West Family (Tim, Prunella and Sam, the latter being two or three years below me at the school) would relentlessly turn up to watch. Those evenings must have been an enlightening experience for that theatrical family I am sure. But I digress.

Benedick’s play was actually a sequence of monologues. As such, I recall it lacked dramatic intensity and coherence as a single work, but the miniature stories were well written and were quite interesting performance pieces, especially Prunella’s one.

It seems the production did the rounds for some time after the New End – one or two on-line reviews from the New End itself to be found plus a few from elsewhere – click here.

Frost/Nixon by Peter Morgan, Donmar Warehouse, 19 August 2006

Janie and I were really taken with this play/production. On my log I gave it a one word review:

superb.

Peter Morgan writes these historical/biographical plays really well and Michael Sheen seems well fitted to the lead roles in them, be the role Tony Blair or David Frost.

Actually the whole cast was excellent, with especially memorable performances by Frank Langella, Kelly Shale, Lydia Leonard and Corey Johnson.

Michael Grandage was doing great work at the Donmar at that time.

There is a superb Donmar educational resource available for this production, now in the public domain but not well publicised, which I have scraped to here and/or the image link below:

Taken from https://en.wikipedia.org/wiki/File:Frostnixonposter.png with the same attribution and for the same fair use reasons as stated on Wikipedia.

We saw the original Donmar run quite early in its life – perhaps even still in preview or just after the press night. The play/production was extremely well received, deservedly so. A link to reviews can be found here.

The piece transferred big time and also was made into a film. Janie and I were delighted to have seen the original production before the big fuss broke out.

Who’s Got the Stomach For Days Three & Four Of The 2005 Edgbaston Test Match, Plus Who’s The Daddy by Toby Young, Lloyd Evans & Jeremy Lloyd, Kings Head, 6 & 7 August 2005

Image produced in collaboration with DALL-E

When reviewing the 2005 Ashes series, the great commentator, Richie Benaud, would relate tales from letters he had received from senior people, captains of industry even, describing hiding behind the sofa unable to watch the denouement of some of the tighter matches, such was the level of emotion invested in these incredible multiple-day sporting events that we call test matches in cricket.

The Edgbaston test, which several of us fortunate folk known as the Heavy Rollers experienced live in part, was such a match. While our live experience, which started so brilliantly for us the night before…

…and then progressed to Days One & Two, two utterly absorbing days at the test match itself…

…was over as a live experience for us at stumps on Day Two, of course it continued for us as a television and radio experience for the next couple of days.

Before that, someone (often it was Nigel), will have helped me get at least part of the way, if not all the way, to Birmingham New Street for my train and I probably got to Janie’s place around 9:30/10:00 at night for a shower and then some deep sleep.

No doubt Janie and I played tennis in the morning, ahead of hunkering down with the radio and/or television for most of the Saturday.

It was a seesaw of a cricketing day if ever there was one. England looked to have surrendered their second innings for too little, then Australia similarly found it difficult to avoid frequent dismissals.

But Janie and I could not stay at home all day and watch cricket – we had tickets for a dinner and show at The Kings Head, Islington: Who’s The Daddy, a satirical farce. Not the sort of show that Janie would normally want to see, except that this show was largely about a larger than life journalist/editor named Boris Johnson and his affair with fellow Spectator journalist Petronella Wyatt. Without reaching to breach any professional confidences here, Janie had professional reasons (as well as idle curiosity) to see this show.

This photo from around that time, adamprocter2006, CC BY-SA 2.0. I can report truthfully that Janie has never treated Bojo, although she had seen him in person…as have I, subsequently, in my case when I accosted him with my tennis racket in 2016.

Janie and I set off for Islington quite early, with England in a good but not yet totally secure position. Michael Clarke & Shane Warne were at the crease together albeit seven down but accumulating runs. I think the only reason that the match was still going on at that hour was because England had taken the extra half hour to try and finish the match, but that idea didn’t seem to be working. I’m pretty sure Janie did the driving, thank goodness. We were listening intently. We parked up near the theatre and sat listening to the last couple of overs. Then Steve Harmison bowled THAT ball to remove Clarke on the stroke of stumps.

The same Daily Motion web site that enhanced the previous report has a video (45 minutes this time) showing the Day Three & Four denouement of this incredible match.

That Steve Harmison ball at the end of Day Three is at c22’30”.

Janie and I were in celebratory mode as we entered The Kings Head. Australia still more than 100 behind, just two wickets left…what could possibly go wrong?

We didn’t think all that much of the show. Our (coincidentally cricket loving) friend at The Guardian, Michael Billington, was quite kind about it, but it was pretty much slammed by Sholto Byrnes in The Independent. Indeed, londontheatre.co.uk sums up the piece and its reviews very well. Not great.

No matter, we were in a great mood. England were on the verge of a vital win…

…or were they?

I’m pretty sure we played tennis again, early, on the Sunday morning. Then we hunkered down in the near-expectation that England would quickly take a couple of wickets and we could relax for the rest of the day.

It didn’t quite work out that way

I must say that I personally never got to the “hiding behind the sofa” stage, but there was a lot of oohing and aahing, that’s for sure. I started off watching in the living room, then migrated to the bedroom so I could put my feet up and await what I thought was the inevitable win…then I wasn’t so sure…then I starting to think it was an inevitable “yet again” loss on the way.

Janie kept insisting that it would all come good in the end, but once the lead had been reduced to 20-30 runs, she couldn’t sit still nor could she bear to watch.

By the time the England victory came, I was, by then, absolutely convinced that England were about to snatch defeat from the jaws of victory.

But in the end we celebrated, Janie reminding me that she had been insisting that it would come good for England all along. Yeh, right.

Here is a link to the Cricinfo scorecard and resources for this match.

A glimpse ahead

I had , in a moment of extreme lucidity disguised as madness, procured, the previous autumn, six tickets for Day Five of The Oval test, just in case England were able to take the 2005 Ashes series to the wire. I had kept very quiet about this purchase, just in case the social workers of The Children Society, on learning of this purchase, conspired with a couple of doctors and had me put away for gross insanity.

A coupe of hours after the Edgbaston victory, it felt like the right moment to fess up to this purchase. I called Chas, who was in one of those “trembling voiced Chas” states, but he did make some informed comments on the outcome of the match and immediately said yes to the idea of joining me and Daisy at Day Five of the Oval test, should the series come to that.

I told Chas that I intended to call Nigel next.

Chas told me that it might be best to leave it another couple of hours or more. “I called him a few minutes ago and he still could barely speak”, explained Chas.

Nigel in full flow

Nigel doesn’t lose his voice lightly.

I did speak with Nigel later that day, who was still somewhat of a quiver. It is a shame he wasn’t able to join us at the Oval, but still that Oval story will make for another excellent Ogblog piece, not least because it will be awash with Charles Bartlett’s colourful pictures.

Destination by Thomas Bernhard & Jan-Willem van den Bosch, Volcano Theatre Company, Riverside Theatre, 16 November 2001

We thought this was:

Very good.

But I can find precious little on it from the theatre press. Try this clipping from The Standard, as that’s about as good as it gets, review/preview-wise.

Destination Standard Destination Standard 15 Nov 2001 Evening Standard (London, Greater London, England) Newspapers.com

It was very good, because we say so.

Absolute Hell At the Questors Before A Weekend In Bristol, 9 to 11 November 2001

We went to The Questors with the Duchess of Castlebar to see Absolute Hell by by Rodney Ackland.

It was absolute hell.

We walked at half time.

Things had to be pretty bad for us to walk at half time, especially when The Duchess was treating us to some of her freebie tickets for The Questors.

We had a late reservation at an Ealing restaurant named Parade. I suspect that they were grateful to see us much earlier than our promised arrival at 10:45.

Here is a review of that place from the Standard about a year before our visit:

Parade Campion Standard Parade Campion Standard 26 Oct 2000 Evening Standard (London, Greater London, England) Newspapers.com

The next day, we set off for Bristol to join the Boswell branch of the family for Scott’s birthday. We stayed at The Swallow Hotel. We were no doubt generously entertained at chez Boswell for the birthday.

I don’t think the Duchess joined us on that occasion; hence the theatre visit and dinner with her grace the night before. Absolute Hell on the Friday evening – redemption for the rest of the weekend.

Boy Gets Girl by Rebecca Gilman, Royal Court Theatre, 3 November 2001

We rated this one:

…excellent.

Memorable too, in its creepiness. Yet it somehow Boy Gets Girl doesn’t seem to have hit the radar of the enduring drama canon. The Wikipedia entry at the time of writing this (October 2026) doesn’t even mention the Royal Court production, just the original production in Chicago.

We were treated to a terrific cast for the Royal Court production: Demetri Goritsas and Katrin Cartlidge in the lead roles. Fine support from Nicholas Day, Jason Watkins, Lucy Punch, Karl Johnson, and Lolly Susi – directed by Ian Rickson.

Nicholas de Jongh rated it highly in the Standard:

Boy Gets de Jongh Standard Boy Gets de Jongh Standard 8 Nov 2001 Evening Standard (London, Greater London, England) Newspapers.com

Charles Spencer was taken by the production and the ideas in it more than the play itself:

Boy Gets Spencer Telegraph Boy Gets Spencer Telegraph 9 Nov 2001 The Daily Telegraph (London, Greater London, England) Newspapers.com

Our friend, Michael Billington, also has some reservations about the play but praises the end result at the Royal Court highly:

Boy Gets Billington Guardian Boy Gets Billington Guardian 8 Nov 2001 The Guardian (London, Greater London, England) Newspapers.com

Stalking is a discomforting and difficult topic – perhaps that fact, more than anything else, explains why this piece has somewhat vanished from view in the quarter-of-a-century since.