I didn’t make any notes in my log about this one. I don’t think we were overly impressed with it, but neither did we think it quite as awful as some of the critics. Still, I’d better let the critics do the job for me with this one, given that i wrote nothing.
Another Friday, another theatre visit. This time we had even booked for the Saturday, but switched to the Friday to accommodate Caroline Freeman’s engagement party on the Saturday.
Janie and I rated this Hedda Gabler as “good”.
Janie and I had seen a mediocre (or, in Janie’s words, “OMG it was dreadful”) Hedda in Holland Park a few year’s earlier…
Even after this 1999 Hedda, I still didn’t feel that Janie had seen a good enough version, so we did it all again at The Almeida a few year’s later.
Anyway, this one was a West End preview with Francesca Annis as Hedda and other West End names such as Peter Bowles and Nyree Dawn Porter in tow. Frank McGuiness directed it.
This one started in Plymouth a week or so before we saw it in Richmond. Here is Leon Winston’s review from the Herald Express:
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.
Anyway, we thought this was “very good”.
One of our favourite troupes, Théâtre de Complicité, was responsible for this one. Juliet Stevenson played the lead along with Simon McBurney who also directed. The Theatricalia entry can be found here.
This was the first of those “in the round” productions that the RNT did at The Olivier while it was being refurbished.
Nicholas de Jongh in The Standard was not too keen on it:
We loved Complicité, (or Théâtre de Complicité as it was then known) back then. This joint production with West Yorkshire Playhouse at the Young Vic was perhaps not their best work.
It is based on a J M Coetzee novel which is basically a sequel to Robinson Crusoe.
We found it impenetrable.
It seems we weren’t alone with that feeling. Michael Billington reviewed it thusly: