Travelling Light got mixed reviews – click here for a search term that finds them. Several critics really liked it. Others felt the sentimentality and stereotypes were not for them.
We very much enjoyed our evening, while recognising that this is an entertaining play, not a great play.
Below is the trailer…
…and the following vid has mini interviews with the key cast and creatives.
It’s a slightly show-bizzy play, with some of the humour being a little obvious, plus some singing and dancing thrown in. Which doesn’t sound like our sort of play. Yet, there was an interesting enough narrative line and some fabulous performances to keep us interested throughout.
We saw a preview, so were unaware, when we discussed the play/production afterwards, how much it would divide the critics.
A very memorable show for me, which is an element of praise indeed. Olivia Coleman and Michelle Terry were standout performances among many good ones.
I wonder how the piece would come across to me now, in our Brexity times (writing in April 2017) – would my sense of humour still be in tune with it, or should I say would the play’s sense of humour now be in tune with mine?
A rare visit to the theatre on a Thursday on my own. Janie hates Restoration comedy but I had (and at the time of writing, more than 10 years later, still have) an idea for a very thorough updating of one of those Restoration plays, so I very much wanted to see this modern production of a Restoration classic.
I thought it was very well done. Rory Kinnear was exceptional, as was most of the cast, including Alleyn’s alumna Nancy Carroll.
This was before Nick Hytner found his way off my Christmas card list by forgetting where his loyal audience comes from and becoming far too much of a jobsworth cum corporate lick-spittle when running the National. So hats off to him in this regard – Hytner can direct.
I rated this production very good indeed at the time, but it was not the sort of modernisation of a Restoration play which I have in mind…
…which is a good thing…
…if I ever get around to implementing my own cunning plan. But I digress.
Below is the trailer, which is really quite snazzy without giving away much about the show. It has a fair smattering of Nancy Carroll, which might please my fellow Alleyn’s alums…or indeed anyone who watches the vid:
This was the famous (or perhaps infamous) National Theatre production of Hamlet which took Daniel Day-Lewis to the very edge of reason and from which he quit part way through the run.
I went very early in the run – in fact it might even have been a preview – with Annalisa. I suspect that I had booked the thing with Bobbie in mind, but so long before the appointed date that Bobbie could no longer make it.
Let’s just say that, back then, I thought of Shakespeare as more Bobbie’s thing than Annalisa’s thing. Annalisa has latterly assured me that theatre, including Shakespeare, was very much her thing.
Anyway, I recall that we sat right at the front of one of those side wedges in the Olivier – you are very close to the action there, especially when the action is on your side of the stage.
I also recall that Daniel Day Lewis was a very wet Hamlet – by which I mean sweating and spitting his lines. Annalisa remarked afterwards that we should have taken umbrellas with us had we known.
It was a superb production, with a great many big names and several names that weren’t big then but went on to be big. National productions were a bit like that in those days – some still are I suspect.
I was motivated to write up this theatre visit while sitting at Lord’s in September 2018 watching, for the first time, Ethan Bamber bowl live. His father, David, was Horatio in this Hamlet production, nearly 30 years earlier.
Other big names/fine performances included Judi Dench, John Castle, Michael Bryant, Oliver Ford Davies & Stella Gonet. A young Jeremy Northam had a small part in the version we saw but stepped up to the plate when Daniel Day-Lewis walked out. Later in the run, Ian Charleson took on the role to much acclaim, just before he died.
I think this was still quite early in Richard Eyre’s tenure at the National and he directed this one himself, extremely well.
My only other recollection is a quote that Annalisa picked up from an American visitor to the National, who told his wife that he didn’t think all that much of the play – “too many of the lines were clichés”. I guess you can’t please everybody.
Postscript: An Enthusiast From Across The Pond Sought Help…
…in March 2024 I received some unusual correspondence from a gentleman in the USA, wondering whether I still had the programme (or playbill in his terms) as he was keen to see Daniel Day-Lewis’s biography notes from that production.
I have mentioned before that Ogblog serves as a fifth emergency service on occasions and this felt like such an occasion. No sirens or speeding vehicles through the streets of London needed, but I fortuitously was able to lay my hands on this particular programme with relative ease, having not yet returned that batch to deep storage.
