We saw this one as part of an extraordinary whistle-stop long weekend which took in three plays at Stratford (this the first of them), a motorised hike to the Welsh Borders for lunch at The Walnut Tree before going on to Hay-On-Wye for some overnight- second-hand-book-buying on my part before stopping off for a long lunch at Raymond Blanc’s place (Le Manoir aux Quat’Saisons) in Oxfordshire and then home. Friday to Monday. The other bits have been written up separately from this piece – click here or below:
I think we stayed in the Shakespeare for this trip. Janie booked it but only wrote down “Twelfth Night Room £115 per night” which I suspect in those days was a suite or certainly a superior room. I looked after most of the rest of the trip, including The Old Black Lion in Hay and Le Manoir.
Janie and I see a lot of theatre and on the whole go to see productions that we find good or very good. But just occasionally we see something that is a cut above and is truly memorable as one of the best productions we have ever seen.
That is how my memory (25 years later) recalls this adaptation/production of The Life Of Galileo and my log from the time registers the simple phrase, “excellent production”.
A midweek visit to the theatre with Bobbie. How on earth we ended up at the National for a major production on press night I have no idea – perhaps a couple of Bobbie’s journalist friends/colleagues had to divest themselves of a pair of tickets at short notice.
Midweek theatre was a habit we had acquired during my quieter months in late 1988 but this was not a sensible idea once my Binders career got going, as I might be deadline-ridden or out of town at the drop of a hat in my new career – so such mideweek jaunts became rare.
I don’t recall being quiet at work, though, so I must have been immersed in something or things that didn’t require meetings. I think I ran a tendering process or two, got involved with some proposal writing and helped out on a few projects staffed by people who didn’t really “get” accounting.
One thing I most certainly wasn’t doing was strutting around the office like a “paycock”. Which brings us back neatly to the matter at hand – a Wednesday evening visit to the National to see Juno and the Paycock with Bobbie.
It is hard to find any information on-line about the 1989 production, although some of the 2011 reviews hark back to the earlier production. But take my word for it that the 1989 production was good. I’m pretty sure it got good notices. Bobbie might remember yet more about it than I do. I’ll ask her.
This production started its life at the Cottesloe, then went on tour and then returned to the National at the Olivier. Bobbie and I caught it on its return.
I recall not much liking this play. We had seen a cast comprising mostly this ensemble perform The Tempest some months earlier, which I had loved. I think it was that experience that drew us to Cymbeline.
I also realised by then that I prefer smaller spaces than the Olivier – there was a comparatively impersonal feel to the Cymbeline and I remember wondering whether I would have liked it more in the Cottesloe.
Still, it was a fine production with an excellent cast. I wonder what Bobbie thought of it and/or recalls about it?
Below is Michael Billington’s Guardian review of Cymbeline:
This was my last week working for Newman Harris, I was doing exam marking for Financial Training college to make a few extra bucks and on the preceding Monday my parents went on holiday. How do I remember all that?:
I rated this production very good. I think we benefited from seeing The Tempest in the intimate environment of the Cottesloe – certainly when compared with Cybeline at the Olivier.
Not sure what we did afterwards – the diary might have some info on that, which I shall add in the fullness of time if it does.
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:
https://youtu.be/GobBM0Tt0j4
Anyway, the Lindsay Duncan & Ian Charleson version will live long in my memory. Bobbie’s too, I’ll guess. I’d better ask her.
Sleep Standard de Jongh 23 Apr 1999, Fri Evening Standard (London, Greater London, England) Newspapers.com
Sleep Billington Guardian 23 Apr 1999, Fri The Guardian (London, Greater London, England) Newspapers.com
Sleep Spencer Telegraph 26 Apr 1999, Mon The Daily Telegraph (London, Greater London, England) Newspapers.com
