A strange play, this. Here is a link to its Wikipedia entry. Writing about it 25 yrars later, it seems in some ways more relevant now than it did then, as evidenced by the several revivals of it in recent years.
And there was Janie and I thinking that we’d spent an evening seeing an interesting play by Caryl Churchill performed exceptionally well. What simple souls we were/are.
Interesting stuff. It’s one of those nights at the theatre about which I remember little detail but it left a lingering impression on me nonetheless. I can still sort-of remember the sights, sounds and even smells of it.
Janie and I went threee times in a fortnight to see RNT Studio plays at the Cottesloe. This was the first of those three visits. It was a modern Liverpudlian play of the post-Thatcherism variety. We thought it was a very good play and really enjoyed (if that is the right word) this production.
Michael Church gave it a very good review in the Observer:
I liked this play and production far more than Janie did. Where I liked the intellectual aspects of the content, Janie found them pretentious and at times confusing.
What a cast: Maggie Steed, Trevor Baxter, Caroline Quentin, Peter Wingfield, Stefan Bednarczyk, Marcello Magni. Joint directors Mike Alfreds and Neil Bartlett.
No wonder I was keen to see it.
Still, I don’t think Janie and I were wild about this one. I was fast learning that Janie doesn’t like classics as much as she likes modern pieces, nor does she like farce. Marivaux was never likely to float Janie’s boat.
Yet worse, from a “what Janie does and doesn’t like” point of view, this production had re-located the piece in the 1930’s, adding a Cowardesque flavour to it that didn’t go down well with the reviews that are currently ( as I write in 2019) on-line/clippable.
Despite that, the sheer weight of talent on show carried the day for us, as we both found the production entertaining and could not question its quality of production.
Below is Michael Billington’s review from the Guardian:
I think Bobbie had a problem with that October weekend and we arranged to swap with a friend of hers to see this production midweek, on 30 September.
My production log says:
Went with Bobbie. Very good.
So what else is there to say? I remember it being a very big, busy play, with an enormous cast of courtiers attending to the protagonists. I remember laughing quite a lot. I suspect I would find it a bit cheesy if I saw it again now.
Nigel Hawthorne was very impressive and I suppose it is “quite a thing” that I saw him perform live.
I was probably quite tired that evening, as the diary shows I spent a long day flying up to West Lothian the day before on business – that will have been Sky with Michael – a memorable working day.
I suspect that this was the last time I went to the theatre with Bobbie. We probably had a post theatre meal, perhaps at the RNT itself or perhaps somewhere like RSJs or the Archduke.
This is the third and final part of my 25th anniversary Ogblog trilogy on “how Janie and I got it together”. In case you missed the first two parts and are interested in reading them, here are links to the first two episodes:
So, the ossobuco supper gave me the perfect opportunity to phone Janie to thank her for her hospitality and ask her out.
As luck would have it, I was sitting on a pair of hot tickets, The Street Of Crocodiles at the Cottesloe Theatre. It was my habit back then to book up quite a few such productions a long way in advance, with Bobbie Scully in mind for first dips, but with an unwritten agreement with Bobbie that she couldn’t commit that far in advance and that I might need to find someone else to join me…
…anyway, I had these tickets for 29 August and they seemed an ideal way to reciprocate.
Janie seemed keen on the idea, so the date was set.
I also offered to cook Janie a pre-theatre meal, after first checking that she liked Chinese food.
I can’t remember exactly which dishes I went for, but I’ll guess I plugged for bankable favourites that were reasonably easy to prepare and which needed relatively little clearing up afterwards:
cha chieng lettuce wrap – probably using veal mince or a mix of veal and pork mince;
chicken and cashew nuts with yellow bean sauce;
I thought the second main dish was steak slices with onions, mushrooms and black bean sauce, but Janie reckons the second dish was prawns with ginger and spring onions and now I think she is right;
pak choi with oyster sauce;
steamed basmati rice.
No TripAdvisor review for the meal, but on reminding Janie about it just now, she has described it as “amazing”, so there you go.
But far more amazing than my meal was The Street Of Crocodiles. It really was a stunningly good show.
The play is based on the stories of Bruno Schulz, which (from what we can gather) were weird enough when written, but when given the Complicite treatment, they become a sensory overload of words, music and movement.
Janie had driven to my place and insisted on also driving to the National Theatre – the latter habit being one she rarely deviates from 25 years later.
The evening seemed to have gone splendidly well. Janie was very complimentary about my cooking and seemed very taken with the show.
When we got back to my place, I asked Janie if she wanted to come back upstairs to my flat.
She said no.
I asked her if she was absolutely sure.
Janie said that she was absolutely sure and drove off.
So that was that – although on this occasion I sensed that “no” meant “not this time” and that there would be plenty of other times.
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.
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 The Skriker Sat, Jan 29, 1994 – 24 · The Guardian (London, Greater London, England) · Newspapers.com
