This was a major revival of Pinter’s classic, directed by Trevor Nunn with a cracking cast including Imogen Stubbs, Douglas Hodge, Anthony Calf and several other fine actors.
Unusually, we got to this one late – it had been running at the National for a while, since November 1998, by the time we saw it, towards the end of its run.
Charles Spencer had given it a rave review in The Telegraph:
This was a preview of a show Ken Campbell put on at The Piccadilly Thetre later that year.
I loved Ken Campbell’s work and I seem to recall a very funny monologue in one of his earlier one-man shows when he talked about his fascination with the New Hebrides (now Vanuatu) and vaguely posited the idea of performing MacBeth in pidgin.
In this piece, Campbell goes into far more detail about the language and his desire to establish pidgin as a world language, or Wol Wontok, which he believed could be achieved in just a few days as the language is so easy.
Here is Ken Campbell’s Guardian piece shown on the back of the programme note above, in proper clipping/readable form:
The first part of the prodcution was fascinating and funny, but, in truth, Janie and I found the delivery of MacBeth in pidgin less funny than the idea of it being done.
Never mind. An evening in the hands of Ken Campbell is never dull and I remember this evening more fondly than my log note suggests I would:
Not as much fun as we thought it might be – the idea is funnier than the delivery
Somewhat strangely, through work, soon after seeing this play, I met Patrick Ellum, who was a former Attorney General of Vanuatu. Through Patrick, I met one of that nation’s visiting Prime Ministers and his entourage. No, I didn’t try out my pidgin on them, although I did ask them about the deification of Prince Philip in Tanna. Hopefully I’ll Ogblog that event in the fullness of time.
But I digress.
“Prince Philip” in pidgin was, “nambawan bigfella emi blong Misis Kwin“, by the way.
I digress again, but no more.
Lyn Gardner in the Guardian gave Pidgin Macbeth a guarded thumps up, while signally failing to translate The Bard’s name into pidgin properly – it’s “Macbed Blong Wilum Sekspia“, dear, not Sekstia – typical Grauniad:
What an amazing piece of theatre this was. The late great Mike Nichols, better known as a director of course, acted brilliantly, with Miranda Richardson and David de Keyser, all wonderful.
David Hare, better known as a playwright but also a talented director, did a grand job with the piece.
Wallace Shawn, perhaps better known as an actor than as a playwright, although also a very talented playwright, wrote it. Not his best known; indeed possibly not his best piece, but, an excellent play.
Despite all that role rotation, it came off superbly well for us.
Janie and I recognised the unmistakable back of Wallace Shawn’s head just in front of us that night. A few years later, we chatted with Wallace Shawn at the Almeida when he turned up to see Miranda Richardson in Aunt Dan and Lemon; he waxed lyrical about how wonderful he thinks she is, seemed genuinely self-effacing about his writing and genuinely delighted that we had been inspired to seek out his plays by seeing this piece and of course My Dinner With Andre, one of my favourite films ever.
My log and indeed my memory is unequivocal about this one:
Quite outstanding. One of the very, very best.
A rare visit to the theatre midweek, I’m guessing that our impending trip to Thailand & Vietnam restricted our choices of dates for this one. Such was our desire to see it, we booked a midweek evening to be sure of seeing the production.
Both Antony Sher and Deborah Warner were superb in their roles, as indeed was the whole supporting cast.
In truth, Stanley Spencer’s art is not really my bag, but his story is strange and peculiarly touching, certainly as told in this excellent play by Pam Gems.
Strangely, I cannot find a Guardian review for this one, but Michael Simons previewed it:
What a cast! Daniel Craig, Susan Engel, Clare Holman, Stephen Dillane, Harry Towd…directed by Declan Donnellan too.
I insisted that Janie go alone to see Perestroika and she told me at the time that it was not as good as Millenium Approaches. But was she saying that just to be kind or was she saying that because she got less enjoyment without me or was she saying that because actually the first part is the better part?
A strange play, this. Here is a link to its Wikipedia entry. Writing about it 25 yrars later, it seems in some ways more relevant now than it did then, as evidenced by the several revivals of it in recent years.
And there was Janie and I thinking that we’d spent an evening seeing an interesting play by Caryl Churchill performed exceptionally well. What simple souls we were/are.
I went to see this play with Bobbie Scully. I remember it very well; both of us were very taken with it. It did prove to be a big hit, transferring and being produced again many times.
This original production really was a cracker. I think it pretty much made Jane Horrocks’s name; I don’t think she was all that well known before – perhaps she was known on the TV. Pete Postlethwaite and Alison Steadman were terrific.
I’m not sure what we did for food, but we tended to go to The Archduke or possibly RSJs after the show in those days.
No on-line reviews from those days, so you’ll just have to take my word for it – it was a cracking show. I rated the evening very good in my log, that’s for sure. Several reviews on-line for subsequent versions refer to the 1992 production – click here for the search term that brings those up.
Better yet, below is Michael Billigton’s Guardian review:
Betrayal Telegraph Spencer 26 Nov 1998, Thu The Daily Telegraph (London, Greater London, England) Newspapers.com
Betrayal Guardian Billington 25 Nov 1998, Wed The Guardian (London, Greater London, England) Newspapers.com
Betrayal de Jongh Standard 25 Nov 1998, Wed Evening Standard (London, Greater London, England) Newspapers.com
