Tag: Geoffrey Streatfeild

Cell Mates by Simon Gray, Hampstead Theatre, 9 December 2017

There were warning signs that this production of this play might provoke thoughts of walking out part-way through and even take me and Janie to the very edge of reason…

…I had simply forgotten about them and/or ignored them.

We didn’t book the original production of the play, Cell Mates, but we read all about it when Stephen Fry walked out on the production after just a few days and disappeared – the controversy about that is well documented on the Wikipedia entry for the play – here.

Further, two of the lead performers for this production, Geoffrey Streatfeild and Cara Horgan, were in The Pains Of Youth – Ogblogged here – which Janie and I hated and from which we walked at half time.

But these reflections are terribly unfair on those fine actors, whose performances were the saving grace of this production of Cell Mates. Our problem with Cell Mates, I think, is mostly the play itself.

The story of George Blake and Sean Bourke is very interesting. I can see why Simon Gray sought to dramatise it. Yet sometimes great stories do not make great drama; or perhaps this story would have needed more dramatic licence to bring the story to dramatic life. Blake’s passion for Marxism and the Soviet Union, to the exclusion of his human relationships, is a fascinating idea but made for dreary drama to our eyes.

To us, this play was a waste of excellent talent; all of the cast are fine performers and played their parts well. Edward Hall is a director we greatly admire. We considered walking at half time, but stuck it out on the strength of the performances.

Anyway, here is the Hampstead Theatre resource on the play/production. 

Here is Ed Hall talking about the production:

Here is the trailer:

Here is a search term that will take you to reviews and stuff – the critics seem to be seeing a bit more in the play/production than we did…but only a bit.

Pains Of Youth by Ferdinand Bruckner, Cottesloe Theatre, 7 November 2009

What a grim evening of theatre this turned out to be.

The only ungrim thing about the evening was bumping into George Littlejohn and his good lady in the foyer before the show and then again in the interval. I have known George since 1994 when we met, for reasons that will only be explained to you if you click here, at the 1994 inaugural Accountancy Awards. Only click if you find pompous awards funny; don’t click if you take them seriously.

The play is about young upwardly mobile Viennese trainee doctors in the 1920’s, who should have been among the most happening people on earth were it not for their unfortunate juxtaposition with time and space (i.e. 1920’s Vienna) and their existential angst.

Janie and I hated the first half of the play and resolved not to stay for the second half. I’m not saying that it was either going to be members of the cast, or us, or a mixture of those two cohorts, but suicide was clearly on the cards during the second half. We made absolutely certain it wasn’t going to be us.

Unfortunately for George and his good lady, they had some sort of connection with someone involved in the production, so they stayed for the second half. We wished them luck as we waved them goodbye.

The irony of the bad straplining of that last piece will not be wasted on George Littlejohn, who was at one time the editor of Accountancy Age, no less, but has since managed to exceed even those giddy heights.

Despite their ordeal, sticking out the whole evening, I am pleasantly surprised, indeed delighted, to report that both the Littlejohns seem hale and hearty at the time of writing (January 2017).  Janie and I ran into them both again at the Curzon Bloomsbury on New Year’s Day 2017 – click here, which triggered this memory and hence this write up.

On The Beach by Steve Waters, Bush Theatre, 25 April 2009

This play was part of a double bill of plays about climate change known together as The Contingency Plan.

We only fancied the first part; On The Beach.

The Bush was still above the pub on Shepherd’s Bush Green in those days.

It was well acted and produced, but we both found the first play a bit long, ponderous and not entirely plausible. We didn’t seek to book nor did we regret not having booked the second part.

On the whole the double-bill was reviewed jointly, so our take is only partial: