Tag: Eugène Ionesco

Rhinoceros by Eugène Ionesco, Royal Court Theatre, 6 October 2007

I’ve liked this play for almost as long as I can remember; certainly since school. Janie and I saw a quirky production of this at the Lyric Hammersmith years ago, but I thought this version at the Royal Court, translated by playwright Martin Crimp might have a bit extra. It did.

Benedict Cumberbatch was a young actor on the “one to watch” list in those days; now (writing in 2016) one might pay good money to avoid him – simply because of extreme overexposure to his manifest talent, you understand.

The above link (or click here if you prefer) takes you to the Royal Court archive, which has the who’s who and excellent reviews, saving me time and effort. But the absence of Michael Billington’s name in the Royal Court resource led me to suspect that Billi-o didn’t like it and I was right – click here for his review.

Philip Fisher in British theatre Guide (also unmentioned) did like it – click here.

 

 

The Chairs by Eugene Ionesco, Royal Court Theatre At The Duke Of York’s Theatre, 31 January 1998

Weird evening

That’s all I wrote in my log.

I’m not too sure what made the evening weird.

We ate at Fung Shing afterwards, as planned, that I do know. Which was a return to the “scene of the crime” from the Z/Yen Christmas do a few week’s earlier…

A “Works Outing” To Remember, From Detroit To Fung Shing Via Scissor Happy At The Duchess Theatre, 12 December 1997

I guess neither of us quite got our heads around The Chairs. You need to be in the mood for Ionesco and perhaps we weren’t.

This version was Martin Crimp’s adaptation and Simon McBurney/Théâtre de Complicité’s production, so weirdness was probably very much the order of the evening. Richard Briers and Geraldine McEwan led the cast. Here is the Theatricalia entry for the production.

“What did the papers say about it?” I hear you cry.

Charles Spencer in The Telegraph liked it, while denying that we should read too much into the piece – darned right!

26 Nov 1997, Wed The Daily Telegraph (London, Greater London, England) Newspapers.com

Nicholas de Jongh in the Standard said it is the “weirdest French farce of them all”, making my simply “weird” comment more understandable.

25 Nov 1997, Tue Evening Standard (London, Greater London, England) Newspapers.com

Michael Billington in The Guardian thought the production brilliant:

Chairs Billington GuardianChairs Billington Guardian 25 Nov 1997, Tue The Guardian (London, Greater London, England) Newspapers.com

I, A Critic: Why Use 800 Words When 8 Words Might Do?, Alleyn’s School Bear Pit, The Lesson by Eugène Ionesco & The Real Inspector Hound by Tom Stoppard, 7 December 1974

Images scraped with loving care from Alleyn’s Scriblerus

I went with my parents on the Saturday evening to see the last night of that year’s Bear Pit production; a double-header no less – The Lesson & The Real Inspector Hound.

Let us gloss over the monumental water polo victory in the morning…11-7 that reads, just in case you are finding my handwriting a little hard to read.

Let us not linger over the fact that the 12-year-old me thought it important to say that I thought the Generation Game was good…

…whereas 12-year-old me failed completely to mention that Barry White – “The Walrus Of Love” – “The Pachyderm Of Passion” – was riding high at the top of the charts at that time with this classic sound:

No. Let us please focus on Bear Pit production for December 1974. My job back then as a juvenile critic was to be clear, incisive and decisive in my opinions. I think I achieved that:

Bear Pit. The Lesson – boring. Inspector Hound – good.

The late, great, Trevor Tindale spent at lest 100 times as many words saying…if I have understood the thrust of his argument correctly…more or less exactly the same thing in Scriblerus some months later.

If you prefer to read Scriblerus pages from pdfs, here is a scrape of those two pages as a pdf.

But you might not want all that detail:

The Lesson – boring.

The Real Inspector Hound -good.