The irony in the fact that I can hardly remember anything about this double bill of Arthur Miller plays is not wasted on me.
Nor is that irony likely to be wasted on Bobbie, with whom I saw this double bill at the Hampstead Theatre in 1988, but I’m guessing she remembers little about it. Nor on Janie, with whom I saw it all again at the Orange Tree in 2006.
My log for both evenings reads “very good indeed”.
I do recall that Part One made more sense to me than the ethereal, impressionistic Part Two. But both parts were very entertaining and well worth seeing.
Michael Ratcliffe reviewed it in the Observer over two weeks. His short Part One review is appended to his Common Pursuit review, embedded in my piece on The Common Pursuit.
Here is Ratcliffe’s review of the whole Faust thing/Part Two:
I went to see this production of The Common Pursuit with Bobbie.
It had received a lot of publicity at that time, due to its stellar cast of comedy folk: Rik Mayall, Stephen Fry, Sarah Berger, John Sessions, John Gordon Sinclair and Paul Mooney.
I remember thinking it was actually a very good play. I had already formed a liking for Simon Gray plays by reading many of them in the mid 1980s. This might have been the first one I saw on the stage.
I also recall not liking the sycophantic audience who seemed to think it was hilarious if Rik Mayall or Stephen Fry merely walked onto the stage. But that was the audiences problem, not the play’s. Nor the production’s, really.
I think the play has been somewhat under-rated in the Simon Gray canon as it has not often been revived in the 30 years since.
But back to The Common Pursuit. Bobbie’s memory of it has yet to be tested. I’ll get back to this piece in the unlikely event that something specific about this piece or this evening emerges.
I vaguely remember taking after theatre supper with Bobbie at one of those West End restaurants after this one but cannot recall which particular restaurant it was.
I have little recollection of this particular production and midweek evening at the theatre with Bobbie.
Starry cast, we saw, with Paul Eddington and Dorothy Tutin as the Crocker-Harris couple in The Browning Version. The same cast and crew performed/produced both plays.
I think I concluded that Rattigan isn’t really my thing when I saw these plays. It all seemed rather old-fashioned in style, although I do also recall that there were interesting themes and the plays were well written.
A superb run of seeing amazing productions started to break down just a little with this one.
Again a Saturday evening, again with Bobbie. My log says the production was good. It also says:
Suzan Sylvester was indisposed that day, so we saw Michelle Evans understudy the lead
Tis pity that, as I think Suzan Sylvester must have been a very good Annabella opposite Rupert Graves as Giovanni. I do remember Bobbie and I feeling that the understudy did well, though.
Not one of Eugene O’Neill’s greatest plays, but my log suggests that Bobbie and I both found this production very good…
…and why shouldn’t we. Vanessa Redgrave & Timothy Dalton, with support from Amanda Boxer, Malcolm Tierney and several other good names. David Thacker directed it.
This was, in fact, a West End transfer of a much-lauded Young Vic production; the UK premier of this play. Bobbie and I couldn’t get in at the Young Vic but got in early during the transfer, so saw the original Young Vic cast/production.
Bobbie and I were on a bit of a roll, theatre-wise, at the start of that year, seeing some great productions. This was certainly one of them.
Lindsay Duncan was a most memorable Maggie The Cat and Ian Charleson was superb as Brick; tragically Charleson died just a couple of years after this production. The cast also included Eric Porter, Alison Steadman, Henry Goodman…plus many other fine performers. Howard Davies directed.
The Lyttelton is not my favourite place for this sort of play, but somehow this one seemed to work in that space. I seem to recall it received superb notices and for good reason.
Michael Billington loved this production – his review clipped below:
There’s little on-line about this particular production, given its antiquity, but if you have no idea even what the piece looks/feels like, here is a clip of Paul Newman and Elisabeth Taylor from the 1950’s film version:
…while the following clip is from a subsequent National theatre production of Cat:
Anyway, the Lindsay Duncan & Ian Charleson version will live long in my memory. Bobbie’s too, I’ll guess. I’d better ask her.
I rated this play/production superb in my log – I remember it well and fondly.
Jim Broadbent and Linda Bassett were both outstanding – I think this might have been the first time I saw either of them in the theatre and it was, I think, my first experience of seeing an Athol Fugard play performed. If so, it was the first of many in all three cases.
The play is about a Russian soldier hiding in a pig sty for many years after the war and possible recriminations for his desertion are over. No doubt it is meant to be a parable with relevance to the Afrikaner position in South Africa.
Frankly, I found it hard to engage too deeply with the parable at the time, but did think it was an interesting and entertaining play, especially in the hands of the talented cast.
Unusually for productions that please me so much, Fugard himself directed this one – I’m not keen on the idea of playwrights directing their own work and usually detect some untrammelled egotism in such productions, but I think Fugard might be an exception to the “don’t direct your own plays” rule of thumb.
Did Bobbie enjoy this one as much as I did? I think so, at the time, but whether it stuck so long in her memory as it did mine is a question I’ll have to ask her.
I’ve either mislaid or never had the programme for this one, sadly, so I needed to do a bit of on-line searching.
The log makes it clear that i went to see this play with Bobbie and that we both thought it was “really good”.
I do remember enjoying it and I especially remember an early scene in which Maggie Smith, as a tour guide, starts making up the history when her memory fails her and/or the reality doesn’t seem interesting enough.
These days I quite often here the Lord’s tour guides explaining the history of real tennis to a tour group while I play. Sometimes they are pretty accurate and sometimes they indeed dwell into fiction. On one recent occasion (February 2019) they told the group that the charming woman I was playing against, whose handicap is some 10 points less impressive than my modest handicap, is a former open champion and one of the finest players in the world. We both lifted our performances a little to try and impress.
“Fantasy floods in where fact leaves a vacuum”, as Lettice puts it in the play, Lettice and Lovage, which is the very thing I am digressing away from writing about here.
Apparently it opened in October 1987 so we got in fairly early in its long West End run. It was at the Globe Theatre – i.e. the West end Globe, not the Shakespeare facsimile thing that didn’t yet exist in 1988…obvs.
By all accounts it was a big hit – hence the long run and subsequent Broadway run too.
Maggie Smith was terrific as was Margaret Tyzack as her foil/nemesis. I don’t in truth remember what the supporting cast was like – probably just fine. Michael Blakemore directed it, which is usually a very good sign.
By all accounts, including his own, Shaffer wrote the Lettice part with Maggie Smith in mind, which makes sense:
I recall that the play was both funny and thought-provoking about issues of conservation, history and the grey areas between historical fact and fiction.
Nicholas De Jongh Danger: Memory! Fri, Apr 8, 1988 – 28 · The Guardian (London, Greater London, England) · Newspapers.com
Blake Morrison on Danger: Memory! Sun, Apr 10, 1988 – 37 · The Observer (London, Greater London, England) · Newspapers.com
