The Changeling by Thomas Middleton, William Rowley, Lyttelton Theatre, 25 June 1988

Hot on the heels of seeing an excellent Uncle Vanya…

…Bobbie and I saw a very good production of The Changeling at The National.

Miranda Richardson played Beatrice-Joanna, Rebecca Pidgeon played Isabella, George Harris as De Flores, Richard Eyre directing…

…here is a link to the Theatricalia entry.

It isn’t a jolly play and I did see it again only a few years later at Stratford, with Janie:

I think this National production was the better of the two.

Below is Michael Billington’s Guardian review, plus an interview with Miranda Richardson

Billington on ChangelingBillington on Changeling Sat, Jun 25, 1988 – 18 · The Guardian (London, Greater London, England) · Newspapers.com

Kate Kellaway’s Observer review is below:

Kate Kellaway on ChangelingKate Kellaway on Changeling Sun, Jun 26, 1988 – 40 · The Observer (London, Greater London, England) · Newspapers.com

The diary is silent on what we did afterwards. For some reason, is think that we ate at the National that evening. It is quite a long play and I think the restaurant there was doing arrangements to eat part of your meal during and part after show at that time. But I could be mistaken.

Cat On A Hot Tin Roof by Tennessee Williams, Lyttelton Theatre, 12 March 1988

Bobbie and I were on a bit of a roll, theatre-wise, at the start of that year, seeing some great productions. This was certainly one of them.

Lindsay Duncan was a most memorable Maggie The Cat and Ian Charleson was superb as Brick; tragically Charleson died just a couple of years after this production. The cast also included Eric Porter, Alison Steadman, Henry Goodman…plus many other fine performers. Howard Davies directed.

Here is the Theatricalia entry for the production.

The Lyttelton is not my favourite place for this sort of play, but somehow this one seemed to work in that space. I seem to recall it received superb notices and for good reason.

Michael Billington loved this production – his review clipped below:

Billington On CatBillington On Cat Fri, Feb 5, 1988 – 18 · The Guardian (London, Greater London, England) · Newspapers.com

Clearly Michael Ratcliffe liked it too:

Michael Ratcliffe On CatMichael Ratcliffe On Cat Sun, Feb 7, 1988 – 26 · The Observer (London, Greater London, England) · Newspapers.com

There’s little on-line about this particular production, given its antiquity, but if you have no idea even what the piece looks/feels like, here is a clip of Paul Newman and Elisabeth Taylor from the 1950’s film version:

…while the following clip is from a subsequent National theatre production of Cat:

https://youtu.be/GobBM0Tt0j4

Anyway, the Lindsay Duncan & Ian Charleson version will live long in my memory. Bobbie’s too, I’ll guess. I’d better ask her.

The Double Dealer by William Congreve, Olivier Theatre, 12 October 1978

What a memorable day and special event; a group of us from Alleyn’s School saw The Double Dealer at the Olivier Theatre, having earlier been given a backstage tour of the National and a few weeks before before that been given the opportunity to “workshop” some of the scenes from The Double Dealer with National Theatre understudies and assistant directors.

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:

Thursday: Went to Curtain Theatre – Hillel House – Olivier Theatre. Great day.

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: 

Sir Ralph’s kit. The legend with the exhibit reads, “…Although not a very gifted player, Sir Ralph was a devotee of real tennis…”
My kit. Mercifully, no legend provided with my exhibit. 

But I digress. My point really is…what a cast! I mean, yes I know I am about to shout, WHAT A CAST!

The Theatricalia entry, with cast and crew for this production of The Double Dealer, can be found here.

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.

Funnily enough, I remember being disappointed with Dorothy Tutin too – but perhaps I was simply absorbing what my drama teacher had said and reflecting it as my own opinion. Anyway, what did we know? Dorothy Tutin picked up an Olivier Award that year for that performance.

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.

Here is a link to the full text of the play from Project Gutenberg – free and available to all.

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.