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:
The log is unusually silent about this event. Especially unusual, as I was regularly recording my thoughts, even if just solo word, at that time.
I suspect this means that we didn’t think much of the piece/production but didn’t want to rubbish it.
Our diaries are also silent on what we did afterwards, other than a note in Janie’s diary to expect the show to end no earlier than 10pm. I suspect we picked up shawarmas on our way home.
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:
I have tended to find Sebastian Barry plays long and wordy, but this one worked for me and encouraged back to try more of his stuff. I suppose after four plus hours of “Iceman” the previous week, this 150 minute jobbie seemed like a short sketch.
The Theatricalia entry for this play/production can be found here. What a fine gathering of cast and creatives. Sinéad Cusack got most of the plaudits. The critics loved it.
In the summer of 1996 (or was it spring 1997?), we had spent a Sunday on the Thames, on Michael & Elisabeth’s Thames sailing barge, The Lady Daphne, along with, amongst others, Trevor Nunn & Imogen Stubbs. Trevor was busy reading an early Tennessee Williams script, Not About Nightingales, which had never been performed in the UK. Despite not being among Williams best work, Trevor suggested to us the play had a lot going for it. He was thinking of putting it on at the Royal National Theatre once he became Artistic Director there. I think his appointment had been announced but Trevor had not yet taken up the role when we met him.
Anyway, we were very keen to see the finished product once the production was announced and booked to see it at the start of its run.
The only critic who really matters here on Ogblog…me…wrote:
Powerful stuff – not a great play but very well executed.
I especially remember Finbar Lynch and Corin Redgrave putting in standout performances.
Charles Spencer in The Telegraph seemed to like it:
Don’t ask me how or why we had the stomach for this violent play but not for Shopping & F***ing the week before. Perhaps the violence seemed less gratuitous. Perhaps the way it was produced/directed.
Perhaps because we were demob happy – although we had cancelled our main spring holiday plans because of Phillie’s indisposition, we had decided to take a week off an go to Majorca for some much needed rest. We flew off early the next morning.
Similarly Suzannah Clapp in The Observer, whose review reminds me that the critics main reservation about this play is that they didn’t like it as much as they liked Elyot’s (also wonderful) My Night With Reg.
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.
Sleep Standard de Jongh 23 Apr 1999, Fri Evening Standard (London, Greater London, England) Newspapers.com
Sleep Billington Guardian 23 Apr 1999, Fri The Guardian (London, Greater London, England) Newspapers.com
Sleep Spencer Telegraph 26 Apr 1999, Mon The Daily Telegraph (London, Greater London, England) Newspapers.com
