Category: Theatre

The Recruiting Officer by George Farquhar, Olivier Theatre, 27 June 1992

I have carried a fondness for this play with me for as long as I can remember, despite it not really being my type of play.

Revisiting my first encounter with it for Ogblog, some 25 years later (August 2017) I can understand why. This was one heck of a good production.

The Theatricalia website has recorded all the cast and crew details, mercifully, so I don’t have to – click here – then gasp in awe and wonderment. What a cast, what a production team.

Photostage has some photos, which you can peruse if you wish – here.

All my notes say is that I went with Bobbie Scully and that we thought it was very good.

I remember thinking Ken Stott was superb – I don’t think I had seen him before. It might have been my first encounter with the excellent Alex Jennings. Des Barrit was also a standout performer, as usual. But in truth the whole cast was good and you can see many names on the list who went on to do bigger and bolder things.

There are no on-line reviews to be found – until now – my one right here – yay!

I’m not sure what Bobbie and I did about eating afterwards, but in those days we would sometimes eat at the RNT itself – we might well have done that – or sometimes we’d go to The Archduke or somewhere of that ilk nearby.

 

Below is Michael Coveney’s Observer review:

Coveney on RecruitingCoveney on Recruiting Sun, Mar 15, 1992 – 60 · The Observer (London, Greater London, England) · Newspapers.com

Below is Michael Billington’s review:

Billington on RecruitingBillington on Recruiting Sat, Mar 14, 1992 – 30 · The Guardian (London, Greater London, England) · Newspapers.com

John Random’s 0898 Song, c1992

In remembering Chris Stanton, who died 9 March 2020, I refer to his masterful private performance of John Random’s superb 0898 song.

For those who don’t know what I’m talking about (and also for those who do), I’m pretty sure that John won’t mind me upping his lyric sheet for 0898 – click here.

And for those who are not sure what the tune might sound like, the following vid plays the best known version of the song, “Busy Line”, performed by Rose Murphy, upon which 0898 is based.

Please take my word for it that 0898 was traditionally delivered about 50% faster than Busy Line.

“Clubbing” Up West, 13 March 1992, The Night Of The Iguana by Tennessee Williams, Lyttelton Theatre, 14 March 1992

Excellent

I wrote in my log and I remember this production as such too. In 1992 I was still going to this sort of production with Bobbie as long as she was available, which most often she was, despite her protests that mebooking stuff so far ahead meant she couldn’t/wouldn’t guarantee her availability.

Bobbie was there for this one.

I’m pretty sure I had seen Bobbie the night before as well. The diary simply says “clubbing” which, as I recall it, meant a West End evening with Bobbie and several of her law reporter friends.

I remember the evening of Friday 13 March 1992 clearly, because I almost lost my life earlier that day on the M11, driving out to see Schering, when a lorry shed its load of timber on the two-lane motorway ahead of me and I had nowhere to go (other than into a central reservation barrier to the right or into the vehicles to my left) so I slowed down as much as I could through the timber and then vehicularly limped to the hard shoulder to have my broken car and shaken me rescued.

I must have bored everyone shitless with my Friday 13th story that previous evening and for sure the events of the day and evening of 13th were small beer compared with the drama that unfolded at The Lyttelton on the Saturday Night.

Here is the Theatricalia entry for this production.

I’ve always been partial to a bit of Tennessee Williams and this play/production is a good example of why Williams is worth watching.

There’s a good synopsis of the play on Wikipedia – here.

Frances Barber as Maxine, Alfred Molina as The Reverend Shannon, Eileen Atkins as Hannah…top cast. Richard Eyre in the director’s chair.

Richard Burton, Ava Gardner & Deborah Kerr starred in the Hollywood film version – films are different, but here is a clip:

Returning to the 1992 production, here is Kate Kellaway’s preview piece from the Observer:

Kate Kellaway Preview IguanaKate Kellaway Preview Iguana Sun, Feb 2, 1992 – 59 · The Observer (London, Greater London, England) · Newspapers.com

Below is Michael Coveney’s Observer review:

Michael Coveney on IguanaMichael Coveney on Iguana Sun, Feb 9, 1992 – 60 · The Observer (London, Greater London, England) · Newspapers.com

Below is Michael Billington’s Guardian review:

Billington on IguanaBillington on Iguana Sat, Feb 8, 1992 – 21 · The Guardian (London, Greater London, England) · Newspapers.com

It really was a cracking night of theatre.

Murmuring Judges by David Hare, Olivier Theatre, 20 January 1992

Two visits to the Olivier Theatre with Bobbie in 48 hours. Just fancy. Must have been an availability thing and both of us wanting to see both plays.

In my log I wrote,

Good, but not as good as I had hoped it would be.

I seem to recall finding the play a bit wordy, a bit worthy and also some of the legal aspects a little unconvincing. I think the feedback from Bobbie’s legal entourage was similar on that last point when we ended up comparing notes.

Here is the Theatricalia entry for this production.

Here is a link to the Wikipedia entry for this play.

Below is Michael Billington’s Guardian review:

Billington Judges JudgesBillington Judges Judges Sat, Oct 12, 1991 – 21 · The Guardian (London, Greater London, England) · Newspapers.com

Below is Michael Coveney’s Observer review:

Coveney Judges JudgesCoveney Judges Judges Sun, Oct 13, 1991 – 56 · The Observer (London, Greater London, England) · Newspapers.com

The Resistible Rise of Arturo Ui by Bertolt Brecht, Olivier Theatre, 18 January 1992

This was the first of two visits to the Olivier Theatre with Bobbie in the space of 48 hours. Go figure.

The second visit was this one:

Murmuring Judges by David Hare, Olivier Theatre, 20 January 1992

We rated Arturo Ui higher than Murmuring Judges.

Very good indeed,

I wrote in my log.

Superb cast, headed by Tony Sher but also with Michael Bryant, Sally Rogers, Peter Wight, Anthony O’Donnell, Karl Johnson, Adrian Scarborough…

…oh my giddy goose, what a cast.

Here is a link to the Theatricalia entry.

“What did those with a more critical eye think of the production?”, I hear you cry.

Below is Michael Billington’s Guardian review:

Billington on UiBillington on Ui Sat, Aug 10, 1991 – 21 · The Guardian (London, Greater London, England) · Newspapers.com

Below is Michael Coveney’s Observer review:

Coveney on UiCoveney on Ui Sun, Aug 11, 1991 – 49 · The Observer (London, Greater London, England) · Newspapers.com

Blood Wedding by Federico Garcia Lorca, Cottesloe Theatre, 14 December 1991

Gosh I thought this was very good.

I think it might have been my first experience of a Lorca play and by gosh this production of Blood Wedding was powerful.

I saw this with Bobbie.

Subsequently Janie and I both became very keen on Lorca and saw a good production of Blood Wedding at the Almeida in 2005.

But returning to this production, the Theatricalia entry for it is here. A very young Helen McCrory starred as the bride and Cyril Nri was the groom.

It seems that we saw a preview, as press night was three days after our sight of it.

Below is Michael Coveney’s review from The Observer:

Coveney On Blood WeddingCoveney On Blood Wedding Sun, Jan 5, 1992 – 41 · The Observer (London, Greater London, England) · Newspapers.com

I think they got their timing wrong having press night on 17 December… a rare Cottesloe opening that missed out on Michael Billington or indeed anyone from the Guardian. But in my view it was the critics who missed out on a very good production.

Becket by Jean Anouilh, Theatre Royal Haymarket, 30 November 1991

I thought this play/production was very good. I think Bobbie did too.

At the time, this medieval period was not one of my favourites, whereas now, writing in March 2020 nearly 30 years later, I have been doing a bit of my own writing (albeit fun stuff) on the topic…

Dear William, My Peformance Piece For Threadmash 5, Gladstone Arms, 5 February 2020

…so would now be better equipped with the historical backdrop.

But I digress.

I was, at that time, especially partial to a bit of Jean Anouilh, which was quite popular at that time, soon after his death.

Derek Jacobi as Becket, Robert Lindsay as Henry II. That’s a pretty decent line up and the supporting cast was pretty good too. Elijah Moshinsky (better known for opera) directed it.

Michael Billington in the Guardian admired the production for its acting and directing more than he liked the play:

Billington on BecketBillington on Becket Wed, Oct 9, 1991 – 38 · The Guardian (London, Greater London, England) · Newspapers.com

Michael Coveney in the Observer didn’t like the piece much:

Michael Coveney on BecketMichael Coveney on Becket Sun, Oct 13, 1991 – 56 · The Observer (London, Greater London, England) · Newspapers.com

But it isn’t about those guys, it is about what we thought…and we thought it very good. I suspect I would now agree with Billington that the thrill of this production was the acting. I wonder if I have a copy of the play somewhere so I can quickly read it again after all this time?

Henry IV Parts One & Two by William Shakespeare, Royal Shakespeare Theatre, Part Of A Back-Aching Weekend In Stratford With Bobbie, 27 to 29 September 1991

Back in the day, when I didn’t look much like the bard, Bobbie and I were partial to a bit of Shakespeare.

This sounded like the real deal, with Robert Stephens as Falstaff and Michael Maloney as Hal. A little-known (at that time) actress Linda Bassett played Mistress Quickly and Adrian Noble directed the thing.

Besides, I had studied Henry IV Part One for my English ‘O’ Level, so obviously I knew what I was talking about.

Here is a link to the Theatricalia entry for Henry IV Part One – which we saw on Friday 27 September.

My log for Henry IV Part One reads:

Back-aching but worth it

Whereas for Henry IV Part Two, which we saw on Saturday 28 September, it reads:

Seriously back-aching but still worth it

Here is a link to the Theatricalia entry for Henry IV Part Two.

Both plays were long – hence the back ache. I was still suffering the aftermath of my multiple lower back disc prolapses the previous year.

They were very good productions though.

Below is Michael Coveney’s Observer review of Henry IV Part One:

Coveney on Henry IV Part OneCoveney on Henry IV Part One Sun, Apr 21, 1991 – 56 · The Observer (London, Greater London, England) · Newspapers.com

Below is Michael Billington’s take on Part One in the Guardian

Billington on Henry IV Part OneBillington on Henry IV Part One Thu, Apr 18, 1991 – 26 · The Guardian (London, Greater London, England) · Newspapers.com

Below is Kate Kellaway’s Observer review of Part Two

Kate Kellaway on Henry Part TwoKate Kellaway on Henry Part Two Sun, Jun 2, 1991 – 72 · The Observer (London, Greater London, England) · Newspapers.com

Here’s Michael Billington in The Guardian ecstatic about the pair after seeing Part Two

Billington On Part TwoBillington On Part Two Sat, Jun 1, 1991 – 21 · The Guardian (London, Greater London, England) · Newspapers.com

We stayed in an unmemorable B&B on the edge of town. I vaguely recall a bossy (i.e. rule-laden) owner.

I think we ate good food. Fatty Arbuckle’s or Lambs, and then The Glory Hole, if I recall correctly. I’m pretty sure the latter on the Saturday night because Henry IV Part Two was so darned, back-achingly long, there was only one eatery in Stratford open that late in those days.

We suffered for our art, going to Stratford, back then.

The Seagull by Anton Chekhov, Barbican Theatre, 14 September 1991

Stellar cast for this RSC production of the great Chekhov play. Alfred Burke, Simon Russell Beale, Amanda Root, John Carlisle, Susan Fleetwood, Roger Allam…to name but a few. In the capable hands of Terry Hands.

The Theatricalia entry for this one can be found here.

Bobbie and I both enjoyed this production a lot.

I hadn’t realised that this production was Terry Hands’s swansong for the RSC, but Nicholas de Jongh made much of that fact while praising the production in The Guardian:

De Jongh on SeagullDe Jongh on Seagull Sat, Jul 13, 1991 – 21 · The Guardian (London, Greater London, England) · Newspapers.com

Napoli Milionaria by Eduardo De Filippo, Lyttelton Theatre, 24 August 1991

I recorded the following about this one:

Very good. Performed in scouse accents if I remember correctly.

I suspect that the second note had something to do with a little Bobbie annoyance at the use of scouse accents to depict Neapolitans. Ian McKellen as scouser seemed a little strange to our ears too, but of course the bloke can act. Clare Higgins as his missus, Richard Eyre directing, fine supporting cast…what’s not to like?

I think we both enjoyed the show.

Here’s the Theatricalia entry for that production.

Intriguing-sounding character, Eduardo De Filippo.

Anyway, Michael Billington was most impressed in the Guardian:

Billington on NapoliBillington on Napoli Sat, Jun 29, 1991 – 21 · The Guardian (London, Greater London, England) · Newspapers.com

Billington said it reminded him of O’Casey at his best and I think Bobbie and I formed exactly that view without having seen Billington’s comment.

Michael Coveney in The Observer also liked it a lot:

Coveney on NapoliCoveney on Napoli Sun, Jun 30, 1991 – 48 · The Observer (London, Greater London, England) · Newspapers.com