The Blue Room by David Hare, (adapted from Arthur Schnitzler), Donmar Warehouse, 26 September 1998

By gosh there was a fuss in the UK press about this one, with theatre journalists falling over themselves to heap praise, in particular on Nicole Kidman, essentially for looking the part and being able to act.

We had tickets for the first Saturday, because back then, as members of the Donmar, that was the sort of thing we did, especially if someone as grand as David Hare was credited with writing a whole new version of a play.

The play, originally known as La Ronde by Arthur Schnitzler, was highly controversial when it was written at the turn of the 20th century. There are 10 characters. David Hare’s version at Sam Mendes’s request at The Donmar (subsequently transferred to the Cort Theatre in New York) was not the first time the play was staged as a two-hander. It starred Iain Glen and Nicole Kidman.

Janie and I thoroughly enjoyed our evening, but probably for all the wrong reasons. My log comment speaks volumes:

Nice bodies, shame about the play.

Having been wowed by David Hare’s wonderful solo performance piece Via Dolorosa the week before…

…Janie and I found The Blue Room to be comparatively thin dramatic gruel.

Still, nice bodies as I (and the fawning journalists) said, plus a bizarre moment for me personally. Janie and I were sitting right at the front at one of the sides of the stage, as oft we did at the Donmar. As the stars took their final bow and departed the stage, Nicole Kidman seemed to look straight at me and wave at me with her fingers. One of Janie’s patients was in the audience that night and came up to us as we were leaving the theatre in a state of great excitement, because she had seen Nicole Kidman waving at me. The patient wondered whether I knew Nicole Kidman personally, to which my answer was, “not until this evening”.

25 years later, all I can say is that me and Nicole, we go back a long way.

Here are some of the fawning newspaper pieces. The Standard, seemingly without irony, devoted its Page 3 to the news & review. Frankly some of the language used in this Standard page would not be acceptable 25 years later:

Blue Room Standard Blue Room Standard 23 Sep 1998, Wed Evening Standard (London, Greater London, England) Newspapers.com

Charles Spencer in The Telegraph was blown away by Kidman’s bravura performance:

Blue Room Spencer TelegraphBlue Room Spencer Telegraph 23 Sep 1998, Wed The Daily Telegraph (London, Greater London, England) Newspapers.com

In the Guardian, there is a gushing piece in The Arts Diary which, like the other papers, probably would get heavily edited or spiked today, while our friend Michael Billington did the worthy thing and reviewed Our Country’s Good at The Young Vic instead. (Janie and I went to see that the following spring when it came back from its tour.)

Blue Room & Our Country's Good Guardian BillingtonBlue Room & Our Country’s Good Guardian Billington 19 Sep 1998, Sat The Guardian (London, Greater London, England) Newspapers.com

The Old Neighbourhood by David Mamet, Royal Court Theatre at the Duke Of York’s Theatre, 11 July 1998

All I wrote in my log was:

No interval.

That suggests that we didn’t get a great deal out of this one, unusually for Mamet. Possibly we just felt that we’d seen a lot of material like this before.

Was it three short plays or one play with three somewhat disconnected scene?. I wrote down

The Disappearance of the Jews, Jolly and Deeny.

Splendid cast: Linal Haft, Colin Stinton, Zoe Wanamaker, Vincent Marzello and Diana Quick, directed by Patrick Marber.

Nicholas de Jongh really liked it:

de Jongh, Standard, Mametde Jongh, Standard, Mamet 24 Jun 1998, Wed Evening Standard (London, Greater London, England) Newspapers.com

Our friend, Michael Billington also liked it a lot:

Billington Guardian MametBillington Guardian Mamet 24 Jun 1998, Wed The Guardian (London, Greater London, England) Newspapers.com

Charles Spencer in the Telegraph was less sure:

Spencer Telegraph MametSpencer Telegraph Mamet 25 Jun 1998, Thu The Daily Telegraph (London, Greater London, England) Newspapers.com

Kate Kellaway’s interview with Patrick Marber is very interesting:

Kellaway Observer Marber InterviewKellaway Observer Marber Interview 14 Jun 1998, Sun The Observer (London, Greater London, England) Newspapers.com

Reading these reviews and the interview, I think I should, 25 years later, re-read the play(s) and see what I think of them now.

Take Away by Stephen Clark, Lyric Studio, 30 May 1998

I have very little intel on this play/production, other than the above sheet handed to us at the Lyric.

I think the playwright is probably THIS Stephen Clark but I could be wrong.

My one word review of the play/production was:

Good

…which means it was good.

My records show that we went to Sabai Sabai afterwards. Janie and I had a little reminisce when I found that reference, as we both remember really liking that place – we went quite often back then. So good they named it twice.

Ironically, I think we ate in there rather than take away, but perhaps on this occasion we took away!

The next day we went to a rather ghastly chiropody trade show in Mitcham (Footman) before visiting my folks. The diaries reveal.

The Invention Of Love by Tom Stoppard, Lyttelton Theatre, RNT, 27 December 1997

We normally liked to see these “Cottesloe-type plays” at the Cottesloe, but we missed the boat with this one, seeing it a few month’s later at the Lyttelton.

Not really our cup of tea, this one. Janie isn’t all that keen on Stoppard in general and I found this one “a bit slow”.

I suspect we were both exhausted having worked all the way up to Christmas and then done the family bit for Christmas itself. I can see that Janie arranged a cab for Pauline, so I suspect this is the Christmas that Pauline came to the house and was thoroughly rude to my mum, dad, Hilary, Jacqui and Len – Len tried snipping back – good for him.

But away from the real life drama, this Stoppard drama was about A. E. Housman, with a marvellous cast, including John Wood as “the man in old age” and Paul Rhys as “a younger version of the man”. Also a selection of the usual suspects for fine National Theatre character acting, including Michael Bryant, Robin Soans, Benjamin Whitrow and John Carlisle. Richard Eyre directing – at the National for the last time. There is a Theatricalia entry – here.

Nicholas de Jongh in The Standard loved it:

Invention Standard de JonghInvention Standard de Jongh 02 Oct 1997, Thu Evening Standard (London, Greater London, England) Newspapers.com

Paul Taylor in the Independent also loved it:

Invention Standard de JonghInvention Standard de Jongh 02 Oct 1997, Thu Evening Standard (London, Greater London, England) Newspapers.com

My friend Michael Billington was also taken with it:

Invention Guardian BillingtonInvention Guardian Billington 02 Oct 1997, Thu The Guardian (London, Greater London, England) Newspapers.com

Amy’s View by David Hare, Lyttelton Theatre, 23 August 1997

Superb.

That was my one word verdict on my log about this one.

Richard Eyre directing Samantha Bond, Eoin McCarthy, Ronald Pickup, Dame Judi and other excellent members of the cast – here is the Theatricalia entry for this play/production.

Our friend Michael Billington didn’t like it much:

Amy's Billington GuardianAmy’s Billington Guardian 23 Jun 1997, Mon The Guardian (London, Greater London, England) Newspapers.com

Whereas Paul Taylor in the Indy quite liked it:

Amy's Taylor  IndyAmy’s Taylor Indy 21 Jun 1997, Sat The Independent (London, Greater London, England) Newspapers.com

Charles Spencer in the Telegraph found it anti-climactic…

Amy Spencer TelegraphAmy Spencer Telegraph 21 Jun 1997, Sat The Daily Telegraph (London, Greater London, England) Newspapers.com

…and Nicholas de Jongh in The Standard found it old-fashioned.

Amy's de Jongh StandardAmy’s de Jongh Standard 23 Jun 1997, Mon Evening Standard (London, Greater London, England) Newspapers.com

So, only me and Janie rating it highly when it first came out then – but Amy’s View transferred to the West End and Broadway picking up Tony nominations and a New York Drama Critic’s award.

The Blue Ball by Paul Godfrey, Cottesloe Theatre, 13 May 1995

I damned this one with faint praise.

Quite good.

That’s not so good.

It was about astronauts, their lives, moon shots & stuff. I found it interesting but it didn’t work as drama for me. Janie was less interested in the subject matter but quite enjoyed the play in the round. (Did you see what I did there?).

Paul Godfrey wrote and directed it. It might have been tighter if he had let another director tweak and interpret a bit.

The Theatricalia entry for this play/production can be found here.

Michael Billington’s praise in the Guardian was even fainter than mine:

Billington on BallBillington on Ball Sat, Apr 1, 1995 – 30 · The Guardian (London, Greater London, England) · Newspapers.com

While Michael Coveney was a bit kinder:

Coveney on Ball 1 of 2Coveney on Ball 1 of 2 Sun, Apr 2, 1995 – 77 · The Observer (London, Greater London, England) · Newspapers.com Coveney on Ball 1 of 2Coveney on Ball 1 of 2 Sun, Apr 2, 1995 – 77 · The Observer (London, Greater London, England) · Newspapers.com

The Birthday Party by Harold Pinter, Lyttelton Theatre, 25 June 1994

We do like a bit of Pinter. I was especially keen to see this one. I’d never seen the play performed live; this 1994 production was the first London production since the West End production in the 1960s. But I had seen the wonderful 1980s TV version with Pinter himself as Goldberg.

I’d also previously seen excerpts from the play performed live; not least by my own school mates in the late 1970’s when Dan O’Neill was selected for the role of Goldberg ahead of me because he could do a much better Goldberg accent than me. I don’t bear grudges but I do retain a sense of unjust cultural appropriation to this day, not least because I still cannot do a Goldberg-style accent. I played Aston in The Caretaker instead, but I digress.

Here is the Theatricalia entry for the version Janie and I saw in June 1994. My log says we thought it was very good. A young, then little-known Sam Mendes directed it. Bob Peck was Goldberg, Anton Lesser was Stanley. Dora Bryan and Trevor Peacock were Meg and Petey.

Here is a contemporaneous review from Irving Wardle in the Independent in 1994.

Below is the Michael Billington review:

Billington On The Birthday PartyBillington On The Birthday Party Sat, Mar 19, 1994 – 26 · The Guardian (London, Greater London, England) · Newspapers.com

Here is Michael Coveney’s review:

Coveney On the Birthday PartyCoveney On the Birthday Party Sun, Mar 20, 1994 – 85 · The Observer (London, Greater London, England) · Newspapers.com

In truth, my memory for this play remains full of the wonderful BBC TV production from the 1980s…

…and Dan O’Neill’s Goldberg at school of course.

Les Parents Terribles by Jean Cocteau, Lyttelton Theatre, 4 June 1994

In theory this National theatre production should have been amazing. Alan Howard, Frances de la Tour, Sheila Gish, a young as yet little known Jude Law…

…but my log reads, “not bad. Not the greatest either”. That means we didn’t like it all that much.

Here is the Theatricalia entry for this production.

I think it was a little farce-like for our taste.

I cannot find any contemporaneous reviews for this one, so my vague memory will have to do…

..except that I do now have at least this Michael Billington clipping:

Billington On Les ParentsBillington On Les Parents Sat, May 7, 1994 – 28 · The Guardian (London, Greater London, England) · Newspapers.com

…and this Michael Coveney clipping…

Coveney On Les ParentsCoveney On Les Parents Sun, May 8, 1994 – 71 · The Observer (London, Greater London, England) · Newspapers.com

Our indifference to this production did not stop it from getting a West End transfer, nor did it stop Jude Law from winning “Outstanding Newcomer” awards for his performance, making this production seminal for him, if not necessarily all that special for us.

An Evening With Janie, John & Mandy; Death And The Maiden by Ariel Dorfman, Royal Court Theatre at the Duke of York’s Theatre, 17 October 1992

I believe this was the first time that either John or Mandy met Janie; Janie and I had only been going out together for a few weeks by then.

This was also only the second time that Janie and I went to the theatre together – the first time having been our first date; The Street of Crocodiles.

My diary is a bit of a confusion for that evening – indeed all that it reads is “Madness”…

…which I’m sure means “The Madness of George III”. But my theatre log is very clear that 17 October was this particular evening with John and Mandy and my diary also shows that “George III” reigned on 30 September for me:

What I think happened was that Bobbie, once again, could not make the planned theatre visit to see Madness of George III on 17 October, but was very keen to see that play. I vaguely recall Bobbie arranging a ticket swap with friends so that she/we could see “Madness” midweek a couple of weeks earlier and her friends got the prized Saturday night tickets that I had procured.

That freed up the evening of 17 October for Janie to meet John and Mandy and for all of us to see Death And The Maiden, which was still one of the hottest tickets in town that year, even though Juliet Stevenson (who had wowed audiences as the lead) had moved on.

Penny Downie played the lead in the cast we saw, which, as super subs go, is pretty darned super. Danny Webb and Hugh Ross played the male parts.

Janie and I are struggling to remember what other arrangements we made with John and Mandy around this evening. I think we might have had Chinese food in Soho with them before or after the theatre. Perhaps Mayflower? Or Joy King Lau in those days?

I also realise that my diaries at that time are littered with clues that John and Mandy must have recently moved house around that time:

Guessing that John and Mandy moved to Dangan Road that August, hence the address and phone number scrawled on 12 August…
…did I really escape the carnival 30 August to join John and Mandy in the George at Wanstead 30 August? Guessing that “birthday thing” 28 August would have been with my parents, but I’m not entirely sure about events of that weekend other than the 29 August hot date with Janie.

Anyway, on the day I am writing this up (29 August 2017), we shall be seeing John and Mandy later in the day, so I’ll pick their brains on these matters this evening and update this piece accordingly.

Back to Death And The Maiden.

The play is set in an unspecified nation emerging into democracy from brutal dictatorship. Ariel Dorfman was a Chilean exile during the Pinochet years and the brutal regime is clearly based on that one. It is one of those hugely affecting plays about torture and the abuse of power. It brings to mind also One For The Road by Harold Pinter and Fermin Cabal’s Tejas Verdes.

I’m sure we did something after the play – perhaps we did eat afterwards. For sure we’d have needed a drink. For sure we found a way to discuss and decompress together for a while.

I remember being very pleased that John, Mandy and Janie all seemed to get along so well; in that regard alone the evening was a tremendous success (to use John’s favourite adjective). But it was also an excellent evening of theatre and I’m sure we must have eaten and drunk well…if only Janie and I could remember those details too.

Postscript: A strange coda to this story. Both Janie’s and my diairy say “The Madras House” for this evening, not “Death And The Maiden”. But my log says Death And The Maiden and I have no recollection of going to the Lyric with John and Mandy to see The Madras House – Janie and I saw that play at The Orange Tree many years later. Did we make a late switch of play choice or have the memories and documentary records got into a terrible muddle? I think probably the former.

The Rise and Fall of Little Voice by Jim Cartwright, Cottesloe Theatre, 1 August 1992

This was the Saturday before my life-changing first encounter with Janie at Kim & Micky’s party.

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.

Here is a link to the Theatricalia entry for this production.

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:

Billington on Little VoiceBillington on Little Voice Fri, Jun 19, 1992 – 36 · The Guardian (London, Greater London, England) · Newspapers.com

Below is Michael Coveney’s Observer preview, mostly about Alison Steadman:

Michael Coveney Preview's Little VoiceMichael Coveney Preview’s Little Voice Sun, Jun 14, 1992 – 63 · The Observer (London, Greater London, England) · Newspapers.com

Then the following week Coveney reviewed Little Voice:

Coveney reviews Little VoiceCoveney reviews Little Voice Sun, Jun 21, 1992 – 56 · The Observer (London, Greater London, England) · Newspapers.com