Tag: Leo Bill

Lunch At Lambeth Palace, Followed By The School For Scandal by Richard Brinsley Sheridan, Barbican Theatre, 15 June 2011

A rare visit to the theatre on my own and on a Wednesday. No point trying to get Janie to a Georgian comedy; she doesn’t do classics and she doesn’t do farcical comedy of any kind.

But for reasons of my own – I still have some distantly related ideas for a comedy play on a jotter – I very much wanted to see this show, which had but a short run at the Barbican before going on to the Holland Festival.

As it happens, I had been invited that day to Lambeth Palace for lunch by the Church Commissioners (as Ian Theodoreson’s guest), so it seemed a suitable day for me to take the rest of the day off and therefore be free to spend the early part of a midweek evening at the theatre.

While suitable in practical terms, it was perhaps not quite such a suitable cultural switch from a dignified Lambeth Palace lunch under the auspices of Rowan Williams, the Archbishop of Canterbury, to a bawdy Georgian comedy under the auspices of Deborah Warner, the radical stage director. Neither the irony nor the culture shock of the switch seemed to affect me unduly on the day.

The Lambeth Palace lunch was delightful, btw. I met several interesting new people (this was the only occasion I met Rowan Williams) as well as getting a chance to chat with Ian T and the people I know in that Church of England circle. I was particularly impressed with the dignified informality and grandeur with a tasteful lack of ostentation to the whole Lambeth Palace event.

Afterwards I had plenty of time to do some reading at the Barbican Centre over a coffee or two in the afternoon before seeing the play.

Here is an explanatory vid with Deborah Warner talking about her production of the School For Scandal:

https://youtu.be/nNYiQGGs4hw

In truth I wasn’t bowled over by this production, which had received mixed reviews. This search term – click here – will find you reviews and other resources on the production.

It had some super people in the cast and I thought some of the modernising ideas were quite interesting. But on the whole I thought it was a pretty standard production of a Georgian play with a few nods to modern touches.

Of course it isn’t easy to refresh ideas that have been around for centuries and get their relevance across to modern audiences…

…perhaps the two halves of my unusual day had more in common than I thought about at the time.

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.

The Observer by Matt Charman, Cottesloe Theatre, 6 June 2009

After a rare Friday night marathon with Wally Shawn at the Royal Court the evening before, we went to the Cottesloe the next night to see another affecting play.

Here is the OfficialLondonTheatre.com stub for The Observer.

It is basically about election observers in a West African country getting its first taste of democracy.

We found it interesting and thought provoking. We were a bit “theatred out” by the end of it, but that was as much Wally Shawn’s fault from the night before as anything else. I’ll guess we went to May’s (Shanghai Knightsbridge) for some Chinese food after this one. We had many issues from the two evenings to chat about over dinner and the rest of the weekend.

The Hothouse by Harold Pinter, Lyttelton Theatre, 28 July 2007

We really enjoyed this play and production. It is a rare example of a Pinter comedy, which he wrote during his heyday in the mid 1950s but I don’t think it got produced until a fair bit later.

Being Pinter, the line between comedy and tense psychodrama is a thin one. Indeed, plays like The Caretaker, The Birthday Party and The Dumb Waiter are sinister yet have plenty of humour in them. The Hothouse has plenty of humour yet is sinister; it is set in an anonymous government run mental institution. Say no more.

This was a superb cast and production. Stephen Moore, Finbar Lynch, Leo Bill and Lia Williams the standouts. Here is a link to the Theatricalia entry. For once, the awkward depth/shape of the Lyttelton stage could be used to good effect for an institutional look.

It was pretty well received by the critics on the whole:

The Reporter by Nicholas Wright, Cottesloe Theatre, 17 March 2007

I remember us both finding this piece about low-level BBC shenanigans interesting and enjoyable – despite a suicide forming the denouement (that is not a spoiler). I suspect, given subsequent events at the BBC, it would seem tame and much beside the point today.

I think I picked up the terms “cruel spectacles” and “waning powers”, both of which I use a fair bit, from this particular show.

Great cast, with Ben Chaplin, Paul Ritter, Bruce Alexander, Angela Thorne and Leo Bill really standing out.

Well directed by Richard Eyre and produced of course to RNT standards.

Reasonably well received by the critics – click here for a search term to find reviews.

It was worth seeing at the time for sure.