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:
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 Wikipedia entry for Death And The Maiden explains the synopsis and the original productions.
- Ian Shuttleworth’s 1992 City Limits review is well worth a read.
- This New York Times review/piece by Benedict Nightingale from May 1992 explains the journey this play/production was making at the time.
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.
