Category: Theatre

Mr Peters’ Connections by Arthur Miller, Almeida Theatre, 22 July 2000

In truth, I remember little detail about this piece. My impressionistic memory of it is that we found the piece impenetrable and sensed that Miller was, sadly, well past his prime when he wrote it. I didn’t write anything positive or negative about it in my log…which is a tad negative.

We leapt in early and saw a preview on 22 July.

Here is a link to the Theatricalia entry for this production. The production toured subsequently.

Susannah Clapp compared it unfavourably with the Steppenwolf production that was touring at the same time.

Peters’ Clapp Observer

Article from 30 Jul 2000 The Observer (London, Greater London, England)

David Benedict slammed the piece directly in the Independent:

Peters Benedict Indy

Article from 27 Jul 2000 The Independent (London, Greater London, England)

While Kete Bassett Telegraphed her antipathy in the ehadline:

Peters’ Bassett Telegraph

Article from 28 Jul 2000 The Daily Telegraph (London, Greater London, England)

Nicholas de Jongh gave it a dreaded Standard blob rating, with words of damnation and occasional faint praise:

Peters’ de Jongh Standard

Article from 27 Jul 2000 Evening Standard (London, Greater London, England)

Would our friend, Michael Billington, rescue this one with his trademark kindness and positivity? The almost unheard of two star review says, “no”.

Peters’ Billington Guardian

Article from 28 Jul 2000 The Guardian (London, Greater London, England)

Even Arthur Miller, even the Almeida (which was terrific back then) could muster the occasional dud and this was one of those.

Janie and I quietly agreed that we’d think twice before again booking to see plays written by great writers once they were quite so deep into their dotage.

Stolen by Jane Harrison, Tricycle Theatre (Kiln Theatre), 15 July 2000

The following cutting, which I found inside my programme, explains the story depicted in this play.

This might have been our first visit to the Tricycle – latterly renamed Kiln Theatre, in Kilburn.

Clare Colvin in the Standard was moved by the story:

Stolen Colvin Standard

Article from 5 Jul 2000 Evening Standard (London, Greater London, England)

Kate Kellaway felt somewhat over-tear-jerked, but still felt that the piece worked:

Stolen Kellaway Observer

Article from 9 Jul 2000 The Observer (London, Greater London, England)

This piece certainly won us over to the Tricycle, where we saw many more interesting plays and films over the years.

The Elland Affair by Mike Ward, The Actor’s Workshop, 5 July 2000

I have described the book signing aspect of this event in excruciating detail in a separate piece – click here or below.

My First Ever Book Signing, Clean Business Cuisine (the book), Actors’ Workshop Halifax (the venue), Yet Something Was Missing, 5 July 2000

I have also set out the programme notes I wrote for The Elland Affair – click here.

But what of the show itself?

Well, it seems I gave it a rave review at the time and also assembled some other reviews electronically. I have no idea how or why this information ended up in a “miscellaneous” file on my computer – it looks like a scrape from an on-line something-or-other from back in the mists of time. Anyway, I have just (11 Match 2023) discovered/recovered it, dated 19 July 2000, so here is the contemporaneous reviews of many:

Nicola Sedgefield
Play: The Elland Affair

The Actor’s Workshop Youth Theatre’s latest production, Mike Ward’s ‘The Elland Affair’ is not for the squeamish or sexually repressed.

This orgy of rampant testosterone exposes the physical abilities, acting skills as well as most of the flesh of a group of Yorkshire lads (I presume) who would win hands down in any contest of entertainment against ‘The Chippendales’. With the Workshop lads, what you see is clearly what you get.

Gore as well as sex is plentiful as our fearless heroes plot and ultimately exact revenge on the dastardly Sir John Eland and his thugs. If these lads had been on hand to fight the later Wars of the Roses, Henry VII and all those Tudors would never have made it.

It was a long show, but I wouldn’t have missed it.

Review by: Ian Harris
Play: The Elland Affair

I enjoyed the play immensely. Before taking the world by storm with it, I think Mike Ward would do well to reduce the length by some 30 to 45 minutes. But even in its full length form, there’s enough really good stuff to maintain one’s attention throughout.

The Elland Affair is not for the squeamish or prudish, as other reviewers have no doubt pointed out. But then 1327 probably wasn’t a good time for squeams and prudes to be alive.

A tough but worthwhile assignment this, for a small youth theatre. The broad sword fighting scenes alone must have needed an enormous amount of rehearsal (and muscle building) but were pulled off with great aplomb.

Other youth theatres should take a look at this play and, if suitably ambitious, should do well with it.

Superb programme notes, I thought. (He would say that, wouldn’t he?)

Seriously, well done to author, director, cast and crew.

Review by: Mr G Phillips
Play: The Elland Affair

Yet again the actors workshop has pulled off another excellent performance – ‘The Elland Affair’, superbly written and superbly performed, and it does not cease to amaze me.

Although one or two mistakes were made, and it showed to a certain extent, it was understandable because of all the lines that needed to be learnt.

Kristian Wilkinson played an excellent part as Adam, also Thomas Vickery as Hugh, and they both worked well together showing that they had put a lot of time and effort into the production.

The one character that didn’t really stand out was Harry he could have been played a lot better, Christopher Cockroft did not prove to be much as there was no ‘umph’ behind his lines.

My wife thinks that the the one person that did stand out, even though he did not have a big part, was Aaron. He stood out with his witty humour on how he thought that he was a ‘sex god’ – very well played by Shane Gough. The thing that made him stand out is that he would always turn up at the right moment.’Hope to see him again’ she says.

Which also shows how well the play was written. Even though it was a bit long, there is not a single scene which I can think to leave out, one or two lines maybe, but none of the scenes.

Well done to Mr Ward and I can’t wait for your next one – I assume you are going to write one.

P.S don’t listen to Margaret Woods, you guys are doing a fantastic job and some of you could be the future of television.

Review by: Steve Cattell
Play: The Elland Affair

This was about my fourth outing to an Actor’s Workshop production, and by far the most enjoyable yet.

I had been fore-warned about the length of the play, but felt that the length was justified to contain the full story – a story which has been excellently written by Mike Ward.

Full marks to Kristian for learning so many lines !! What this must have done to his social life over the past two months is anyones guess !! and also a great performance by his right hand man who put in a blinding performance – a natural on the stage.

And of course, I have to mention the star of the show (although I am slightly biased !!!), Grace Siddall – who proved once more that a career in acting is definately looking promising…..

Keep writing Mike, it keeps us entertained…..

Review by: Mr F Smith
Play: The Elland Affair

I must say that my evening at the Actors Workshop was superb whilst seeing the ‘Elland affair’.

I thought that everyone took on the challenge of being 13th century teenagers very well and it was obvious that they had all completly focused on the task.

My only fault was that occasionally the play was disrupted by loud backstage noise.

I also thought that the role of Harry De’lacey slightly lacked confidence.

Review by: A. Ward
Play: The Elland Affair

A great world premiere.

A highly enjoyable swashbuckling tale of revenge, treachery, and humanity – one that will surely see future stagings throughout the country.

A trifle long – particularly the second Act – but this was a mere flesh wound to the body of work as a whole.

Some fine performances and some intriguingly insightful writing touches.

I suggest a sequel – ‘Confessions of a Miller’s Wife’…….

Review by: J.B.W.Summerskill
Play: The Elland Affair

I sat in awe last week as I watched the Mike Ward work ‘The Elland Affair’. I thought it was the best show the company performed that I have seen.

With its carefully woven themes of loyalty, love, friendship and hatred thumping into the audience with welcome regularity, I was kept on my toes laughing and gasping throughout. Many congratulations to all on an exciting and provocative story which could be adapted into a blockbusting production on stage or screen were it to fall into the “wrong” hands.

No doubt Janie and I also enjoyed lavish hospitality at the hands of Mike and Lottie Ward after the show that night…

…after I had returned the pen(s) to their rightful owner(s).

Five Kinds Of Silence by Shelagh Stephenson, Lyric Hammersmith, 24 June 2000

No comment on this one in my log. Not necessarily a bad thing but also not necessarily a good thing.

Fabulous cast – including Tim Pigott-Smith, Lizzy McInnerny, Gina McKee & Linda Bassett. Ian Brown directed. But in truth I remember little about this one – even after looking at some of the reviews.

Paul Taylor was impressed:

Five Kinds Taylor Independent

Article from 3 Jun 2000 The Independent (London, Greater London, England)

Michael Billington was less impressed:

Five Kinds Billington Guardian

Article from 5 Jun 2000 The Guardian (London, Greater London, England)

Nicholas de Jongh was also somewhat underwhelmed by the play:

Five Kinds de Jongh Standard

Article from 5 Jun 2000 Evening Standard (London, Greater London, England)

Janie and I went to a gastro pub restaurant, The Chiswick, afterwards.

Orpheus Descending by Tennessee Williams, Donmar Warehouse, 17 June 2000

Really good.

That’s what I wrote in my log. And I meant it.

I had previously seen Peter Hall’s excellent 1988 production of Orpheus Descending, with Vanessa Redgrave, Jean-Marc Barr and other fine acting folk:

Orpheus Descending by Tennessee Williams, Theatre Royal Haymarket, With Jilly, Followed By Annalisa’s Party, 10 December 1988

Janie is especially partial to a bit of Tennessee Williams. Although I suspected that I would not be seeing a better production that the one I saw in 1988. the lure of Helen Mirren and Saskia Reeves was enough for me. Also involved, a young Stuart Townsend in the male lead, a yet-to-fall-foul-of-my-displeasure Nick Hytner directing, ably assisted by a young Josie Rourke.

Our friend, Michael Billington, was quite impressed:

Orpheus Billington Guardian

Article from 28 Jun 2000 The Guardian (London, Greater London, England)

Paul Taylor described Hytner’s production as “powerful, if over-emphatic”:

Orpheus Taylor Independent

Article from 28 Jun 2000 The Independent (London, Greater London, England)

Kate Bassett wrote well of it in the Telegraph:

Orpheus Bassett Telegraph

Article from 29 Jun 2000 The Daily Telegraph (London, Greater London, England)

Nicholas de Jongh described Hytner’s production as “staid”, but still rated the experience “very good”:

Orpheus de Jongh Standard

Article from 28 Jun 2000 Evening Standard (London, Greater London, England)

I wrote “really good”, not “very good”. I wonder whether the LLMs detect a difference between those two ratings?

The Country by Martin Crimp, Royal Court Theatre, 10 June 2000

Janie and I were very taken with this creepy three-hander at the Royal Court. I remember us agreeing that it was Pinteresque at the time – without the influence of reviews I hasten to add.

I think this was our first sighting of a Martin Crimp play and for sure we were intrigued enough to seek out his work several times subsequently.

Owen Teale, Juliet Stevenson and Indira Varma, directed by Katie Mitchell. All people who had impressed us before and/or since.

My friend Michael Billington in the Guardian shared our fascination with this piece and also saw the Pinter parallels:

Billington on Crimp's The CountryBillington on Crimp’s The Country 17 May 2000, Wed The Guardian (London, Greater London, England) Newspapers.com

Charles Spencer in the Telegraph, on the other hand, adjudged the play “pastiche Pinter”, while applauding the acting and the production:

Spencer on Crimp's The CountrySpencer on Crimp’s The Country 18 May 2000, Thu The Daily Telegraph (London, Greater London, England) Newspapers.com

Clearly the photographers thought that Juliet Stevenson jiggling car keys in Owen Teale’s face was the memorable image of the production.

Macbeth by William Shakespeare, Young Vic Theatre, 3 June 2000

This was a great production. I recall gently persuading Janie to see Macbeth again – she’s no fan of Shakespeare and felt that she had “done” Macbeth when seeing the 1994 Jacobi version.

Macbeth by William Shakespeare, Barbican Theatre, 19 February 1994

It was the pull of Tony Sher and Harriet Walter that won Janie round, firstly to attending and in the end to admitting what a fabulous production this production at The Young Vic was. It was fast, it was furious, it was very memorable. Greg Doran knows a thing or two about doing Shakespeare.

The Theatricalia entry reminds me that the 2000 version was an RSC touring production that started at the Swan in late 1999 and ended up at The Young Vic in mid 2000.

Here’s Charles Spencer’s review from the Swan:

Macbeth Spencer Telegraph

Article from 18 Nov 1999 The Daily Telegraph (London, Greater London, England)

While Spencer gushed, Susannah Clapp really raved about it in the Observer:

Macbeth Clapp Observer

Article from 21 Nov 1999 The Observer (London, Greater London, England)

Paul Taylor also spoke very highly of it in The Independent:

Macbeth Taylor Independent

Article from 17 Nov 1999 The Independent (London, Greater London, England)

Here’s Nicholas de Jongh’s take on the production, once it landed at The Young Vic:

Macbeth de Jongh Standard

Article from 28 Apr 2000 Evening Standard (London, Greater London, England)

Is the ultimate accolade five stars from our friend, Michael Billington?

Macbeth Billington Guardian

Article from 17 Nov 1999 The Guardian (London, Greater London, England)

Of course not – the ultimate accolade is Janie admitting that this was an exciting, jaw-dropping production of a play she didn’t much like.

The Local Stigmatic by Heathcote Williams & The Dwarfs by Harold Pinter, Lyric Studio, 27 May 2000

My take on these two short plays is clearly documented in my log:

The Local Stigmatic: Dreadful.

The Dwarfs: Much better than the Stigmatic!!

That’s all he wrote, folks.

We liked the Lyric Studio back then and quite often went there for interesting new works or (as in this case) rarely seen revivals. Mandrake Theatre Company seems to have been in the business for that sort of thing, although I don’t think we saw their work too often.

Despite being in the low-key studio, this double bill was reviewed by The Standard. Nick Curtis did not agree with my comparative take on the two plays, giving both the dreaded Standard “X”:

Stigmatic Curtis StandardStigmatic Curtis Standard 26 May 2000, Fri Evening Standard (London, Greater London, England) Newspapers.com

We were not having a great run in May 2000, but, fear not, we saw some excellent stuff in June.

Richard II by William Shakespeare, Almeida at Gainsborough, 20 May 2000

We were still at the stage that I thought Janie might just be converted on to Shakespeare, so I booked a couple of Bard productions that spring: Ralph Fiennes playing the title role in this one and Tony Sher playing the title role in the Scottish one.

The idea didn’t really work on Janie – especially Richard II, which she found long and dull, despite a great cast and very solid production.

If I remember correctly, Gainsborough was a pop up theatre on the site of a disused film studio in Hoxton. This was one of the Almeida’s homes for a while, during which time the theatre was being poshed-up a bit.

Ralph Fiennes was a nodding acquaintance of mine back then – one of several actors who frequented Lambton Place in those days. This I disclose in the interests of openness and transparency, not that nodding acquaintanceship might affect my judgment.

I thought this production was very good, but I have always had my doubts about Richard II as a play. It is one that I “studied” at school, as a precursor to Henry IV Part one being my ‘O’ Level text. If Michael Lempriere couldn’t make it interesting for me, even Ralph, Jonathan Kent directing and an excellent supporting cast were going to struggle.

Paul Taylor in The Independent liked it but was a little underwhelmed:

Richard Taylor IndependentRichard Taylor Independent 13 Apr 2000, Thu The Independent (London, Greater London, England) Newspapers.com

Nicholas de Jongh in The Standard was more impressed by the set than anything else:

Richard de Jongh StandardRichard de Jongh Standard 13 Apr 2000, Thu Evening Standard (London, Greater London, England) Newspapers.com

Even Charles Spencer in The Telegraph described it as “far from electrifying” and “dull”:

Richard Spencer TelegraphRichard Spencer Telegraph 14 Apr 2000, Fri The Daily Telegraph (London, Greater London, England) Newspapers.com

Not our greatest weekend of theatre, 19/20 May 2000. But you cannot win them all.

Burning Issues by Ron Hutchinson, Hampstead Theatre, 19 May 2000

I recall this play/production doing less for me than I had hoped. I was expecting something quite visceral from the author of Rat In The Skull, which I had read with wide-mouthed interest back in the day.

We were keen Hampstead goers, even back then when the venue was still a portacabin down the road from the current high-class venue.

We dined at Harry Morgan’s ahead of the show, getting a fix of Jewish deli grub in St John’s Wood on our way to Swiss Cottage, as was our occasional wont back then.

The cast comprised John Gordon Sinclair, Miranda Pleasence, Andrew Woodall, Rob Spendlove, William Chubb and Kenneth Colley. The actor Denis Lawson directed the production.

Nicholas de Jongh in The Standard panned it.

Burning de Jongh StandardBurning de Jongh Standard 26 Apr 2000, Wed Evening Standard (London, Greater London, England) Newspapers.com

Paul Taylor in The Independent also panned it:

Burning Taylor IndependentBurning Taylor Independent 26 Apr 2000, Wed The Independent (London, Greater London, England) Newspapers.com

Whereas my friend Michael Billington…in truth, also panned it:

Burning Billington GuardianBurning Billington Guardian 27 Apr 2000, Thu The Guardian (London, Greater London, England) Newspapers.com

I didn’t think about this play when I saw Giant by Mark Rosenblatt, but reflecting on it now, I can see how Rosenblatt managed to make similar subject matter come alive…

Giant by Mark Rosenblatt, Royal Court Theatre, 21 September 2024

…whereas Burning Issues by Ron Hutchinson, a playwright who had proved that he could write good plays on tough topics, somehow couldn’t make this subject matter fizz.

A rare Hampstead dud for us.