We went on a Friday evening to see part of a preview run of this play/production, which went on to have a good long stint at the Aldwych and which had previously been tested at the Yvonne Arnaud Theatre in Guildford (according to my notes) and/ot Theatre Royal Bath according to the Theatricalia entry.
Anyway…
…I have always been partial to a bit of Simon Gray and also partial to a bit of Alan Bates’s acting and Harold Pinter’s directing, so this was a “must see” for me and Janie – hence the Friday evening booking.
Below is a rare review of the actual Richmond performances from the Ealing & Acton Gazette:
Janie had known Laurie & (especially) Dot Johnson for a great many years – the latter being one of Janie’s clients.
Laurie was very well known in show business and media circles, primarily for writing TV theme tunes such as the following, which Janie and I both remembered fondly from our childhoods:
In 1997, it seems that Laurie, in an attempt to stave off dotage, was launching an autumnal recording and touring career with a new combo; Laurie Johnson’s London Big Band.
Dot kindly invited us to the 8 June concert and the star-studded after show party.
We were among the youngest people in the audience that night. Actually, I think our combined ages at that time (75-ish) might still have made us among the youngest people at the show that night.
Janie and I, seated among the guest celebs in that central block of seats deemed the best in the Barbican Hall, enjoyed watching the bobbing heads of the elderly concert-goers in front of us, making micro-movements in recognition of the swinging beat of the music.
Indeed, for years…nay decades after the concert, Janie and I would mimic the uber-syncopation, not least the cymbal beats, of the Big Band’s rendition of the This Is Your Life Theme:
That one seemed to go down especially well with the elderly bobbing-head brigade.
The after show party was very enjoyable. I guess that we technically met a great many celebs: Laurie Johnson, Ron Moody, Jack Parnell, Don Lusher, Kenny Baker, Benny Green and Tommy Whittle were all on the bill…
…as was a lovely young woman named Alexia, who was a singing waitress at a restaurant that Laurie and Dot liked. They had taken Alexia somewhat under their wings and were promoting her through this show/tour.
We didn’t meet John Dankworth & Cleo Laine that evening, much to Dot’s chagrin, as she seemed very keen for Janie to meet them, but for some reason (health we think) they were unable to attend. Nor was Lionel Bart there, possibly for the same sort of reason.
I do however remember chatting at length with Herbert Kretzmer, who was a good friend of the Johnsons and was very interesting company for quite a while at that function. Fellow lyricists and all that – me and Herbie had a great deal in common. 😉
Go on, bob your head gently to the swinging strains of the This Is Your Life theme again – you know you want to:
We were tending to book RNT things in preview or very early in runs, so this was an unusually late visit to see this one – perhaps we couldn’t get the seats we wanted until later or perhaps we missed it in the first block of dates.
No equivocation from us nor the critics on this one. While my “very good” report on many pieces covers a range of satisfaction, for this one I wrote:
One of the very best…
…which is not something I wrote often. I very clearly recall Janie and I walking out after Closer saying “wow” to each other.
Patrick Marber himself directed it and we were skilful/fortunate to see the original cast at the Cottesloe as this production upscaled in the light of rave reviews, multiple awards and huge audiences. We saw Liza Walker, Clive Owen, Ciaran Hinds and Sally Dexter. Here is the Theatricalia entry.
Here are the pick of the reviews.
First up – Charles Spencer in the Telegraph raving about it:
Ann Widdicombe was a high-profile Tory MP back in the 1990s. She did not get on well with the then home secretary and aspiring Tory leader, Michael Howard, if this lyric is to be understood. Writing this up in 2019, she is back in the news as a very Brexity person.Â
WHEN YOU FALL OUT WITH THAT WIDDICOMBE WOMAN (To the Tune of “When You’re In Love With a Beautiful Woman”)
VERSE 1 – MICHAEL HOWARD
When you fall out with that Widdicombe woman, its hard, When you fall out with that Widdicombe woman, you know it’s hard, (WIDDICOMBE AS CHORUS: your job is hard, but your knob’s not hard); Everybody boos me, No-one will choose me, Nobody wants me for the top Tory post.
VERSE 2 – HOWARD
When you fall out with that Widdicombe woman, watch your friends, (WIDDICOMBE AS CHORUS: what’s a friend, you’ve never had a friend); When you fall out with that Widdicombe woman, it never ends, (WIDDICOMBE CHORUS: this bloke’s the end, it’s known as Howard’s end); She says I faked it, Screwed up at Parkhurst, {Everybody hangs up when I call on the phone}, {WIDDICOMBE: everybody hangs up when he calls on the phone}; When you hang out with that ghastly old woman, you go it alone.
MIDDLE EIGHT – HOWARD WITH MINY HOWID VOWILS
Maybe its just a legal problem, People might still rally round my flag; But they’re fair weather friends, I’m a faint hearted candidate, And every time she speaks out, I want to kill that old bag.
VERSE 3 – WIDDICOMBE
When I speak out on that Parkhurst fiasco, watch his eyes, (HOWARD: better watch my eyes, don’t want to catch her eye); When he reposts on that Parkhurst fiasco, you should be looking for lies, (HOWARD: I never tell a lie, I might save the odd truth for a rainy day); You know that he’s crazy, You cannot trust him, BOTH: There is something of the night in this jerk,
(HOWARD: (aside) That’s why they call her Doris Karloff)
BOTH: Since we fell out with the people of Britain, we’re both out of work.
Below is a video of Dr Hook singing When You’re In Love With A Beautiful Woman with the lyrics on the screen:
Soon after Tony Blair became Prime Minister, news broke of him having “secret” meetings with Mrs Thatcher. This lyric for NewsRevue examined the possibilities around such meetings. I’m not sure whether or not it was used. I don’t recall seeing it performed.
MAGGIE MIGHT (To the Tune of “Maggie May”)
VERSE 1 – BLAIR
Come back Maggie, I think I’ve got something to say to you, We’re deep in Europe and about to join the EMU; I’ve got a summer of summits this year, and still have no idea, Oh Maggie, I can’t stand Leon Brittan’s face.
MIDDLE EIGHT 1 – BLAIR
You led us away from home, you’ve even read The Treaty of Rome, You sold us out and that’s what really hurts.
VERSE 2 – THATCH/BLAIR
THATCH: All you need now is a mum to lend a helping hand, THATCH: That damned fool Major did the same with old Jim Callaghan; BLAIR: I laughed at all of your jokes, like your Tory Cabinet blokes; THATCH: Those sleaze bags have all gone without a trace.
MIDDLE EIGHT 2 – BLAIR
You led us for donkey’s years, you might allay the worst of my fears, The Germans think the EMU is world war three;
VERSE 3 – THATCH/BLAIR
THATCH: You should give that ghasty Kohl a mighty gagging, THATCH: Take me with you and I’ll give Helmut a handbagging; BLAIR: I’ve listened to the words that you’ve said, think I’d sooner stay at home in bed; BLAIR: Oh Maggie, I wish I’d never won this job.
MIDDLE EIGHT 3 – BLAIR/THATCH
BLAIR: You’ve made a first class fool out of me, THATCH: That job was pitifully easy, BLAIR: Our secret meeting was on every damned front page; THATCH: You’ve made me look like a prize bender, THATCH: James Goldsmith’s livid back in his hacienda, BLAIR: Mandelson and Tony Benn are in a rage.
OUTRO (as they exit)
BLAIR: Same time next week, then, Maggie? THATCH: Certainly. It was great fun. I’ll bring the whips and amyl nitrate next time.
I very much regret that no-one saw fit to give this lyric a go in NewsRevue. I know it isn’t exactly topical but feng-shui was all the rage that year.
I probably should have written the lyric with a particular type of plant pointing in a particular direction on my desk. My bad.
THAT’S FENG-SHUI (To the Tune of “Whip Crack Away”)
IMPORTANT NOTICE: The phrase “Feng-Shui” is pronounced “Feng-shoe-way” (really) OTHER IMPORTANT NOTICE: This song should only be sung facing North with the stage door at 45 degrees from the nearest staircase
VERSE 1
Well the Feng-Shui craze is at it all over the place, That ancestor energy thing from the Chinese race; Replace your bed, And paint your lounge red; That’s Feng-Shui, that’s Feng-Shui, that’s Feng-Shui.
VERSE 2
Yes the Californians love Feng-Shui’s appliance, It makes Scientology seem like pure science; Replace your floor, And move your front door, That’s Feng-Shui, that’s Feng-Shui, that’s Feng-Shui.
MIDDLE EIGHT
The Chinese are inclined, To divine, Where you need a fish tank; In Hong Kong China lurks, While the British – Bank (or wank, take your pick)
VERSE 3
Yes, the Feng-Shui craze is rampant all over the hills, Even Downing Street should really be rebuilt, Relight your halls, With spherical balls; That’s Feng-Shui, that’s Feng-Shui, that’s Feng-Shui.
This craze is all, Such spherical balls; That’s Feng-Shui, that’s Feng-Shui, that’s Feng-Shui. Crap Feng-Shui!!
Below is Doris Day singing The Deadwood Stage (Whip Crack Away):
Slow numbers don’t often work in NewsRevue, but this one was a surefire winner.
ME AND PAULA JONES
(A solo for Bill Clinton to the Tune of “Me and Mrs Jones”)
VERSE 1
Me and Paula Jones,
We had a thing going on;
I know right from wrong, but I took my dong,
And let it show now.
I showed Paula my mark,
In the trailer park;
(My troopers), my troopers made sure she’d be there;
Holding hands, shaking my growing glands,
As those troopers helped me service my shlong.
VERSE 2
Me-ee a-and Paula, Paula Jones (Paula Jones, Paula Jones, Paula Jones)
We’ve got a case going on;
We both know that it’s long, but she claims I’m wrong,
When I let it show now.
I’ve now gotta be extra careful,
I can’t afford to get my bone up too high,
Cos she has her own litigation,
And so, and so do I
VERSE 3
Me-ee a-and Paula, Paula Jones (Paula Jones, Paula Jones, Paula Jones)
We’ve got a case going on;
We both know that it’s strong, but it’s much too long,
To let it go now.
Now it’s time for us to be courting,
The Supreme Court, the Supreme Court inside;
Now she’ll brief her silk and I’ll brief mine,
Tomorrow we’ll meet, the same court the same time
OUTRO
Me-ee a-and Paula, Paula Jones (Paula Jones, Paula Jones, Paula Jones)
We’ve got a thing going on;
Sax solo voters – I’ve always been extra partial to playing with my sax
David Helfgott was the central subject of an Academy Award-winning docudrama, Shine, which came out around that time. It is a fascinating true story about a concert pianist who struggled with mental illness.
The lyric below is not even faintly politically correct. Nevertheless, it went down really well in NewsRevue and I also recall Mike Ward using it in the Actors’ Workshop New Year Revels in Halifax at the end of that year.
DAVID HELFGOTT IN CONCERT (To the Tune “All By Myself – Rachmaninov Piano Concerto 2 Mov ii”)
This has tremendous potential for weird piano business if your pianist feels so inclined.
VERSE 1
When I was young, I never needed anyone, And taking baths were so much fun, filled up with dung; I lost my mind, but since they made that film called “Shine”, My strange career is back on line, I’m doing fine.
CHORUS 1
Out of my tree, I’m totally, Out of my tree, Round the bend. Out of my mind, Entirely, Out of my mind, My wits end.
VERSE 2
I’d had enough, of Chopin and Rachmaninov, Brahms, Liszt and Rimsky-Korsakov, my brain went duff; In spite of my flaw, they’ve stuck me on a huge world tour, All though piano’s not my for-, -te any more;
CHORUS 2
I’m off my head, I’m thoroughly, Right off my head, But I’ll still play; I’m round the twist, I’m utterly, Right round the twist, But you still pay.
OPTIONAL INSTRUMENTAL OUTRO WITH REPEAT OF CHORUS 2
(opportunity for some piano business which a mere mortal like me couldn’t even contemplate)
Â
In case you didn’t realise, Eric Carmen’s song All By Myself uses the theme from the second movement of Rachmaninov’s Second Piano Concerto. Below is a video of Eric Carmen performing All By Myself, all by himself…except for a small army of backing musicians, of course:
The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de SadeÂ
But for reasons of sheer laziness and delinquency amongst the arty classes, the title has been widely abbreviated to Marat/Sade.
Joking apart, we really liked this one. My log reads:
Very good. This was the Olivier “in the round” for renovations.
From memory, this was a reduced size of auditorium but with seating all around the stage, which worked very well for this play.production.