The National production in 1997 was more “classic” Christopher Hampton adaptation with an exceptional cast including Sir Ian, Penny Downie, Stephen Moore, Lucy Whybrow and many others, directed by Trevor Nunn. The Theatricalia entry lists them all.
Nicholas de Jongh seemed quite taken with it…just “quite”:
Charles Spencer, like the others, made much of the fact that this was Trevor Nunn’s inaugural piece for the RNT. While not damning it, he does use the word “flash”:
If my memory serves me correctly, we saw Peer Gynt as a matinee on the Saturday and then Twelfth Night in the evening. It might have been the other way around.
Anyway, Janie and I voted this one very good, as indeed we voted Peer Gynt.
Coincidentally, I realise at the time of writing (October 2019, almost exactly 25 years later), Janie and I saw Emma Fielding star at Stratford again last week in A Museum In Baghdad.
It seems that Janie decided to “give Shakespeare a go” with me (we have done a few in our time) but in truth she has never got on with Shakespeare. I have got on with Shakespeare but didn’t get on so well with this play and/or this production.
It is a very long play and in truth I don’t think one of Shakespeare’s best. My log records:
We didn’t go great guns on this one.
Good cast: Richard Johnson (Antony), John Nettles (Caesar) and Clare Higgins (Cleopatra).
This production probably helped to put Janie off The Bard, but fortunately did not seem to put her off me, despite the fact that (as I recall) the back-aching and thirst-inducing length of the play did little for our moods, especially mine.
Yet, so many years on, I struggled to remember much detail about the day of the theatre visit itself. My diary is not much help:
So there you have it. Great day. What else would I need to write down? After all, it was such a memorable day I would remember every intricate detail – right? Wrong.
I am writing this Ogblog piece on 12 December 2018, the morning before I shall see The Double Dealer again, for the first time in over 40 years. I might recover some more memories of this 1978 day while watching at the Orange Tree Theatre, but I doubt it.
So I decided to “shout out” to my old school mates yesterday, hoping that some would chip in with memories of their own. That proved to be a good shout. Here’s Simon Ryan – who in fact shared lots of memories of our Lower 6th drama course – several of which will pop up in other Ogblog pieces in the fullness of time:
The trip to the National Theatre was a Thursday afternoon matinee at the National Theatre’s Olivier Theatre. Dorothy Tutin had a lead role. The supporting actors from the afternoon’s main show, included Gawn Grainger and Glyn Grain (Duncan Foord and I laughed at them rather than with them, I remember).
It was most definitely part of the Drama AO level course run by Mike Lempriere.
Can’t remember the details about other schools attending.
I remember Dan O’Neill knew the guy who gave us the backstage tour and relayed to us that he needed us to give him a favourable review to help him out. (Dan O’Neill’s elder brother, Hugh and the guy who ran the Bear Pit whose name eludes me, (Stephen Fry? ) but who looked rather like a Restoration fop with long curly black hair, both worked at the NT which is why he had an inside track.
I thought that Simon meant John Fry (not Stephen). John was the Journeyman in the Bear Pit’s production Andorra with us earlier that yearand no doubt went on to further Bear Pit glories later. I didn’t recall the foppish hair…probably because Simon was thinking of Tom Fry. Robert Kelly recalls:
The Bear Pit guy was Tom Fry (not Stephen Fry) and he had a younger brother John… Tom Fry was just as you describe, I thought he was the coolest thing I had ever seen when I first saw him. In fact he may still be…
It is interesting that Simon particularly remembers Dorothy Tutin‘s role. I did remember that, but I particularly remember the production for Ralph Richardson, not least because my parents went on and on about it being such an honour for me to see Ralph Richardson perform on the stage, albeit in his dotage.
Coincidentally, I have recently come across Ralph Richardson in a different context; on of the tennis professionals at Lord’s pointed out to me the similarity between my real tennis bag and that of Sir Ralph’s as exhibited in the main reception at Lord’s:
But I digress. My point really is…what a cast! I mean, yes I know I am about to shout, WHAT A CAST!
Here are just some of the names (beyond Dorothy Tutin and Ralph Richardson) from the cast list who, in my view, either were or went on to be stars of stage and screen:
Nicky Henson
Dermot Crowley
Judi Bowker
Brenda Blethyn
Sara Kestelman
Robert Stephens
Michael Bryant
Janet Whiteside
Naturally, I am unable to assess how good a production or collection of performances that really was – it was the first time I had seen a major production of anything. I was completely star struck and stage struck by the whole experience. I thought it was simply the most amazing thing I had ever seen on the stage. Frankly, at that time, it unquestionably was. I guess I would be still be thrilled by that production if I could see it now.
Here’s Jerry Moore, talking about the Drama course generally as well as his memory of that particular outing:
It was an enjoyable course and really developed my enthusiasm for the theatre. Mike [Lempriere] was an excellent teacher but I remember he didn’t like Dorothy Tutin.
The other thing I have done, prior to seeing the play again in December 2018, is actually read the whole play, for the first time.
What a simple, singular, linear plot. Just hints of subplot – Lady Pliant’s intrigues (although they are all connected to the main plot) and the parenthetic dalliance between Brisk and Lady Froth – with which I had so much fun a few weeks earlier at the rehearsal rooms. But oh so simple a storyline for a play of that period.
Congrieve recognises the simplicity in his (typically late 17th Century style) self-effacing dedication. To be fair, he was only 24 when he wrote this play and I think I can see signs of greater things to come.
The music in the 1978 production was a new score by Harrison Birtwistle. I cannot find a source for that, but here is the overture from original score, by Henry Purcell:
I’d love to hear more memories and recollections, either from people who were part of our school party or indeed anyone else who remembers this production.
To echo Jerry Moore’s words, this was one of the main events that forged my lifelong enthusiasm for and love of the theatre. I realise that I was incredibly privileged to be allowed this experience and shall always be grateful for it.