Travel, Theatre, Music, Cricket, Tennis, Writing, Life
We took Pauline with us to this revival of Fay Weldon’s Mr Director at the Orange Tree.
I think we were all a little underwhelmed by the play, but never mind.
We went to Don Fernando afterwards. There’s a good chance we had paella there, as Janie made some notes in her diary about waiting times for same in Don Fernando.
I don’t think anyone argued or passed out or anything dramatic on this occasion.
Underwhelming drama all round.
This was a very interesting play about a meeting between Sigmund Freud and Salvador Dali. We both really enjoyed it.
Here is the Wikipedia entry for the play.
Here is the Theatricalia entry.
Super cast, with Henry Goodman as Freud, Tim Potter as Dali. Phyllida Lloyd directed this production, which was the premier.
The play has oft been revived since.
Here is Michael Billington’s review from the Guardian:
Billington on Hysteria Mon, Sep 6, 1993 – 25 · The Guardian (London, Greater London, England) · Newspapers.com
Below is Michael Coveney’s review – not so keen:
Coveney on Hysteria Sun, Sep 12, 1993 – 49 · The Observer (London, Greater London, England) · Newspapers.com
We rounded off our evening with Chinese food from The Park Inn. Quite right too.
The diary suggests that we planned to have Marianne and Anil over for dinner the next evening, the Saturday, but Anil doesn’t get beyond a question mark and Janie is sure she has never met him, so my guess is that the whole idea fell though.
Yes, yes, yes! We thought this was a really, really good night at the theatre.
I’d long been a Pinter fan. Janie wasn’t really familiar with his work, but Janie made the running for this night at the Almeida, booking us the front row seats we craved for that place (still do) and jotting down all the details. 90 minutes without an interval. Seats A7 & A8.
This play/production was our first sighting of Pinter together.
I think we ran into Ivan Shakespeare again that night; volunteering for the Almeida selling programmes.
Here is the Theatricalia entry for this play/production.
Here is the Wikipedia entry, which shows who did what etc. What a cast it was too. Claire Skinner, Ian Holm, Anna Massey, Michael Sheen, Douglas Hodge, Jill Johnson and Edward de Souza – directed by David Leveaux.
Below is Michael Coveney’s review:
Michael Coveney Moonlight Sun, Sep 12, 1993 – 49 · The Observer (London, Greater London, England) · Newspapers.com
Michael Billington’s review was on the front page of the Guradian – how often does that happen? Along with a luvvie-fest piece (I’m glad we weren’t there that night and a continuation on Page 18.
Billington Moonlight Wed, Sep 8, 1993 – 1 · The Guardian (London, Greater London, England) · Newspapers.com
Billington continued on Page 18:
Billington Moonlight Continued Wed, Sep 8, 1993 – 18 · The Guardian (London, Greater London, England) · Newspapers.com
Also in the Guardian, an Anna Massey interview about Moonlight. Anna Massey went on to become one of Janie’s regular clients, but Janie didn’t yet know her when we saw Moonlight.
Anna Massey Moonlight Thu, Sep 9, 1993 – 35 · The Guardian (London, Greater London, England) · Newspapers.com
We stayed at mine by the looks of it. I think I probably cooked, given the short play and my having been in the West End on the Friday.
Anyway, it was a fabulous, memorable night at the theatre.
We saw this production after it transferred from the Young Vic to the Duke of York’s.
We hated the discomfort of those West End theatres, but this was one we really wanted to see.
We didn’t see Peter Davison and Zoe Wannamaker at The Duke of Yorks, we saw Matthew Marsh and Margot Leicester instead. A fair swap, I’d say.
Below is Michael Billington’s review:
Billington Last Yankee Thu, Jan 28, 1993 – 30 · The Guardian (London, Greater London, England) · Newspapers.com
Below is Michael Coveney’s review of same:
Coveney On The Last Yankee Sun, Jan 31, 1993 – 55 · The Observer (London, Greater London, England) · Newspapers.com
I seem to recall we thought this play was a bit all over the place. It was very well received, but we thought it had glimpses of Miller’s greatness without being of Miller’s very best.
Still, well worth seeing, we felt. It wasn’t until Mr Peters’ Connections a few years later that we concluded that Miller’s light really had (excuse the pun) petered our.
By the looks of it, Ros Ellott was due to come and stay with Janie that weekend but in the end did not.
We had booked out a long weekend for the purpose.
I guess Janie and I found things to do, but none are recorded in the diary.
We both worked on the Tuesday – Janie working a very long day – then headed up to the Canal Cafe Theatre to see the Edinburgh show preview.
Elements of that particular Edinburgh show have been preserved for all posterity through a TV show named The Wire. The extracts even include one of mine – the Kate Adie Song.
The NewsRevue bit of the show starts at c7:00.
Top marks again to Janie in the stalwart stakes, coming with me to that show after a 12-13 hour working day.
This period of 1993 was “peak Random”, with John perennially, heavily involved in NewsRevue (where he helped to get my comedy writing career going the year before) and also his show Sex In My Anorak, which had played in June.
Then, just a few weeks after “Sex”, a London production of John’s play from the previous year’s Edinburgh Festival, The Orange Penguin.
It had been well received, at least by The Independent it had – click here…
…or if that page goes walkies, try this scrape.
The theatre was a sort-of public hall in Hoxton, near to Annie Bickerstaff’s place. Janie and I went to see this play along with Annalisa and Annie. We all very much enjoyed the play. I think we ended up back at Annie’s place for dinner after the show.
It was my first ever sighting of Brian Jordan, who was known to me because he had taken The Ultimate Love Song to Edinburgh in his show Whoops Vicar, Is That Your Dick? at the same time that John took The Orange Penguin (with Iain Angus Wilkie in the lead).
Anyway, it was a very good evening, our evening in Hoxton seeing The Orange Penguin.
I wonder whether John still has the script and whether he thinks it might be time for a revival?
These days (he says, writing more than 25 years later), I do most of the running with regard to booking theatre. But back then, Janie was more proactive.
There are notes in her diary from weeks before, working out when this was going to open and when we might be available. Then, for the day itself (as one might now find in my diary) notes on exactly which seats she’d booked (Row J) and how long the play might be (8:00 to 10:10).
For sure I would have been a willing participant in seeing the latest Mamet – I had been a bit of a Mamet fan for years by 1993. David Suchet and Lia Williams? yes please. Harold Pinter directing? just tell me where I need to go and when. Here is a link to the Theatricalia entry.
I remember it being a very good production of an extremely powerful play. Here is a link to the Wikipedia entry on the play.
It was in fact a very controversial play and Mamet had written more than one ending for it. There was much debate in the press.
Below is Michael Billington’s review:
Billington’s Review Of Oleanna Fri, Jul 2, 1993 – 37 · The Guardian (London, Greater London, England) · Newspapers.com
Here are links to The Guardian with some fascinating opinions published the following week:
Oleanna Opinions Wed, Jul 7, 1993 – 20 · The Guardian (London, Greater London, England) · Newspapers.com
<ore Oleanna Opinions Wed, Jul 7, 1993 – 21 · The Guardian (London, Greater London, England) · Newspapers.com
Finally, here is Michael Coveney’s review.
Michael Coveney On Oleanna Sun, Jul 4, 1993 – 56 · The Observer (London, Greater London, England) · Newspapers.com
This was a stunning, unforgettable night at the theatre; Janie and I are privileged to have seen this production.
I have written a short piece about Bish Bash Bosh when I uncovered my submission sheet for that show – no need to repeat myself – click here or below:
On 22 July, Janie joined me and “others” for the opening night. Quite a stalwart was Janie in those days.
Harriet Quirk writes about that opening night on the NewsRevue Facebook group – click here for link:
I remember it well ! Rory Bremner came along to the first show with unfortunately only about 10 other people!…
…so that’s Rory, Janie, me, Harriet and possibly six others. We might be anble to name the whole audience if we put our minds to it. Harriet continues…
We were asked to put on shows at a venue in Willesden by a big Newsrevue fan and after lots of deliberation could only come up with Bish Bash Bosh as a name. Unfortunately it didn’t take off ?
I responded:
The place was a dive if I remember correctly. I must interrogate Janie about it and see what she remembers. I do recall her not liking the place and forming a strong view that Newsrevue wouldn’t work there.
Yup, that’s just about all she remembers.
I wonder whether anyone has the running order for that show. The only artifact that provides more clues I scraped from a comedy collective site some months ago – good job I scraped it because it has now gone. I have thus preserved one of Ivan Shakespeare’s classic songs – The Subsidy Song – for posterity. It was for sure in this Bish Bash Bosh show. Here’s the link again – enjoy.
That sheet confirms the Bish Bash Bosh cast…and what an excellent cast it was – scraped below with spellings/misspellings intact:
Jonathon Linsley, Paul Dietch, Paula Tappenden, Virginie Gilchrist and Una McNulty
There’s nothing like a good production of an Ibsen play…
…and this was nothing like a good production of an Ibsen play.
It seemed like such a good idea at the time.
Janie and I had not yet seen any Ibsen play together and Janie had never seen Hedda Gabler and it was summer and the idea of theatre in the park sounded lovely.
As it happens, I had seen a very good Hedda (Lindsay Duncan) at Hampstead a few years earlier, but I thought I could never get too much Hedda.
My log simply says:
It was so poor we walked at half time
This might have been the first time Janie and I “walked” together at half time.
On reminding Janie recently (December 2019) about this particular evening she simply said:
OMG it was dreadful
In truth, Janie and I had a tough search for a truly good Hedda. Richmond Theatre (previewing a West End Francesca Annis Hedda) in 1999 was a bit of a staid production. It wasn’t until 2005, Richard Eyre’s production at the Almeida (Eve Best as Hedda) that I thought Janie had seen a good enough production to be able to claim that we had both done Hedda.
So I’ve done four Heddas…in fact I think I might have seen a small town Hedda in my student days, making it five. As Judge Brack puts it:
Good God – people don’t do such things.
Janie and I both thought this play/production was very good.
Alan Bates was a superb actor and was espececially suited to this role. The supporting cast were excellent under Jonathan Kent’s expert direction.
Below is Michael Billington’s judgment on the piece:
Billington On the Showman Wed, May 19, 1993 – 26 · The Guardian (London, Greater London, England) · Newspapers.com
Michael Coveney was also very keen on this play/production:
Michael Coveney On The Showman Sun, May 23, 1993 – 64 · The Observer (London, Greater London, England) · Newspapers.com
Janie and I still say “my dear child” in the gnarley style that Alan Bates delivered that phrase in this production.
This was our first visit to the Almeida together and I have a feeling we ran into my NewsRevue friend Ivan Shakespeare on this occasion and indeed on more than one of our first few occasions at the Almeida. Ivan was a volunteer there and I think he did Saturday evenings whenever he could.