Henry IV Parts One & Two by William Shakespeare, Royal Shakespeare Theatre, Part Of A Back-Aching Weekend In Stratford With Bobbie, 27 to 29 September 1991

Back in the day, when I didn’t look much like the bard, Bobbie and I were partial to a bit of Shakespeare.

This sounded like the real deal, with Robert Stephens as Falstaff and Michael Maloney as Hal. A little-known (at that time) actress Linda Bassett played Mistress Quickly and Adrian Noble directed the thing.

Besides, I had studied Henry IV Part One for my English ‘O’ Level, so obviously I knew what I was talking about.

Here is a link to the Theatricalia entry for Henry IV Part One – which we saw on Friday 27 September.

My log for Henry IV Part One reads:

Back-aching but worth it

Whereas for Henry IV Part Two, which we saw on Saturday 28 September, it reads:

Seriously back-aching but still worth it

Here is a link to the Theatricalia entry for Henry IV Part Two.

Both plays were long – hence the back ache. I was still suffering the aftermath of my multiple lower back disc prolapses the previous year.

They were very good productions though.

Below is Michael Coveney’s Observer review of Henry IV Part One:

Coveney on Henry IV Part OneCoveney on Henry IV Part One Sun, Apr 21, 1991 – 56 · The Observer (London, Greater London, England) · Newspapers.com

Below is Michael Billington’s take on Part One in the Guardian

Billington on Henry IV Part OneBillington on Henry IV Part One Thu, Apr 18, 1991 – 26 · The Guardian (London, Greater London, England) · Newspapers.com

Below is Kate Kellaway’s Observer review of Part Two

Kate Kellaway on Henry Part TwoKate Kellaway on Henry Part Two Sun, Jun 2, 1991 – 72 · The Observer (London, Greater London, England) · Newspapers.com

Here’s Michael Billington in The Guardian ecstatic about the pair after seeing Part Two

Billington On Part TwoBillington On Part Two Sat, Jun 1, 1991 – 21 · The Guardian (London, Greater London, England) · Newspapers.com

We stayed in an unmemorable B&B on the edge of town. I vaguely recall a bossy (i.e. rule-laden) owner.

I think we ate good food. Fatty Arbuckle’s or Lambs, and then The Glory Hole, if I recall correctly. I’m pretty sure the latter on the Saturday night because Henry IV Part Two was so darned, back-achingly long, there was only one eatery in Stratford open that late in those days.

We suffered for our art, going to Stratford, back then.

The Double Dealer by William Congreve, Olivier Theatre, 12 October 1978

What a memorable day and special event; a group of us from Alleyn’s School saw The Double Dealer at the Olivier Theatre, having earlier been given a backstage tour of the National and a few weeks before before that been given the opportunity to “workshop” some of the scenes from The Double Dealer with National Theatre understudies and assistant directors.

Yet, so many years on, I struggled to remember much detail about the day of the theatre visit itself. My diary is not much help:

Thursday: Went to Curtain Theatre – Hillel House – Olivier Theatre. Great day.

So there you have it. Great day. What else would I need to write down? After all, it was such a memorable day I would remember every intricate detail – right? Wrong.

I am writing this Ogblog piece on 12 December 2018, the morning before I shall see The Double Dealer again, for the first time in over 40 years. I might recover some more memories of this 1978 day while watching at the Orange Tree Theatre, but I doubt it. 

So I decided to “shout out” to my old school mates yesterday, hoping that some would chip in with memories of their own. That proved to be a good shout. Here’s Simon Ryan – who in fact shared lots of memories of our Lower 6th drama course – several of which will pop up in other Ogblog pieces in the fullness of time:

The trip to the National Theatre was a Thursday afternoon matinee at the National Theatre’s Olivier Theatre. Dorothy Tutin had a lead role. The supporting actors from the afternoon’s main show, included Gawn Grainger and Glyn Grain (Duncan Foord and I laughed at them rather than with them, I remember).

It was most definitely part of the Drama AO level course run by Mike Lempriere.

Can’t remember the details about other schools attending.

I remember Dan O’Neill knew the guy who gave us the backstage tour and relayed to us that he needed us to give him a favourable review to help him out. (Dan O’Neill’s elder brother, Hugh and the guy who ran the Bear Pit whose name eludes me, (Stephen Fry? ) but who looked rather like a Restoration fop with long curly black hair, both worked at the NT which is why he had an inside track.

I thought that Simon meant John Fry (not Stephen). John was the Journeyman in the Bear Pit’s production Andorra with us earlier that yearand no doubt went on to further Bear Pit glories later. I didn’t recall the foppish hair…probably because Simon was thinking of Tom Fry. Robert Kelly recalls:

The Bear Pit guy was Tom Fry (not Stephen Fry) and he had a younger brother John… Tom Fry was just as you describe, I thought he was the coolest thing I had ever seen when I first saw him. In fact he may still be…

It is interesting that Simon particularly remembers Dorothy Tutin‘s role. I did remember that, but I particularly remember the production for Ralph Richardson, not least because my parents went on and on about it being such an honour for me to see Ralph Richardson perform on the stage, albeit in his dotage.

Coincidentally, I have recently come across Ralph Richardson in a different context; on of the tennis professionals at Lord’s pointed out to me the similarity between my real tennis bag and that of Sir Ralph’s as exhibited in the main reception at Lord’s: 

Sir Ralph’s kit. The legend with the exhibit reads, “…Although not a very gifted player, Sir Ralph was a devotee of real tennis…”
My kit. Mercifully, no legend provided with my exhibit. 

But I digress. My point really is…what a cast! I mean, yes I know I am about to shout, WHAT A CAST!

The Theatricalia entry, with cast and crew for this production of The Double Dealer, can be found here.

Here are just some of the names (beyond Dorothy Tutin and Ralph Richardson) from the cast list who, in my view, either were or went on to be stars of stage and screen:

  • Nicky Henson
  • Dermot Crowley
  • Judi Bowker
  • Brenda Blethyn
  • Sara Kestelman
  • Robert Stephens
  • Michael Bryant
  • Janet Whiteside

Naturally, I am unable to assess how good a production or collection of performances that really was – it was the first time I had seen a major production of anything. I was completely star struck and stage struck by the whole experience. I thought it was simply the most amazing thing I had ever seen on the stage. Frankly, at that time, it unquestionably was. I guess I would be still be thrilled by that production if I could see it now.

Here’s Jerry Moore, talking about the Drama course generally as well as his memory of that particular outing:

It was an enjoyable course and really developed my enthusiasm for the theatre. Mike [Lempriere] was an excellent teacher but I remember he didn’t like Dorothy Tutin.

Funnily enough, I remember being disappointed with Dorothy Tutin too – but perhaps I was simply absorbing what my drama teacher had said and reflecting it as my own opinion. Anyway, what did we know? Dorothy Tutin picked up an Olivier Award that year for that performance.

The other thing I have done, prior to seeing the play again in December 2018, is actually read the whole play, for the first time.

What a simple, singular, linear plot. Just hints of subplot – Lady Pliant’s intrigues (although they are all connected to the main plot) and the parenthetic dalliance between Brisk and Lady Froth – with which I had so much fun a few weeks earlier at the rehearsal rooms. But oh so simple a storyline for a play of that period.

Congrieve recognises the simplicity in his (typically late 17th Century style) self-effacing dedication. To be fair, he was only 24 when he wrote this play and I think I can see signs of greater things to come.

Here is a link to the full text of the play from Project Gutenberg – free and available to all.

The music in the 1978 production was a new score by Harrison Birtwistle. I cannot find a source for that, but here is the overture from original score, by Henry Purcell:

I’d love to hear more memories and recollections, either from people who were part of our school party or indeed anyone else who remembers this production.

To echo Jerry Moore’s words, this was one of the main events that forged my lifelong enthusiasm for and love of the theatre. I realise that I was incredibly privileged to be allowed this experience and shall always be grateful for it.