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 wrote in my log and I remember this production as such too. In 1992 I was still going to this sort of production with Bobbie as long as she was available, which most often she was, despite her protests that mebooking stuff so far ahead meant she couldn’t/wouldn’t guarantee her availability.
Bobbie was there for this one.
I’m pretty sure I had seen Bobbie the night before as well. The diary simply says “clubbing” which, as I recall it, meant a West End evening with Bobbie and several of her law reporter friends.
I remember the evening of Friday 13 March 1992 clearly, because I almost lost my life earlier that day on the M11, driving out to see Schering, when a lorry shed its load of timber on the two-lane motorway ahead of me and I had nowhere to go (other than into a central reservation barrier to the right or into the vehicles to my left) so I slowed down as much as I could through the timber and then vehicularly limped to the hard shoulder to have my broken car and shaken me rescued.
I must have bored everyone shitless with my Friday 13th story that previous evening and for sure the events of the day and evening of 13th were small beer compared with the drama that unfolded at The Lyttelton on the Saturday Night.
Two visits to the Olivier Theatre with Bobbie in 48 hours. Just fancy. Must have been an availability thing and both of us wanting to see both plays.
In my log I wrote,
Good, but not as good as I had hoped it would be.
I seem to recall finding the play a bit wordy, a bit worthy and also some of the legal aspects a little unconvincing. I think the feedback from Bobbie’s legal entourage was similar on that last point when we ended up comparing notes.
I think they got their timing wrong having press night on 17 December… a rare Cottesloe opening that missed out on Michael Billington or indeed anyone from the Guardian. But in my view it was the critics who missed out on a very good production.
Very good. Performed in scouse accents if I remember correctly.
I suspect that the second note had something to do with a little Bobbie annoyance at the use of scouse accents to depict Neapolitans. Ian McKellen as scouser seemed a little strange to our ears too, but of course the bloke can act. Clare Higgins as his missus, Richard Eyre directing, fine supporting cast…what’s not to like?
Josette Simon was indisposed the night we went, which was a real shame.
I can now exclusively reveal that the understudy we saw instead was Souad Faress. I subsequently did get to see Josette Simon; in The Maids, a few years later. Bobbie might not have been so lucky.
I’m not sure I was wild about the play either. Jacobean tragedies don’t always float my boat and I have a feeling that I sensed that this one wasn’t entirely my cup of tea. The White Devil is heavy on courtly intrigue and light on laughs.
Fine cast as always with a National production, with Eleanor Bron and Denis Quilley as the big draw names along with Josette Simon. Philip Prowse directed. Here is the Theatricalia entry for this production.
Michael Billington was not so keen on this one, claiming that it wasted the actors:
Michael Billington He Who Saw Everything May 1993 Sat, May 15, 1993 – 28 · The Guardian (London, Greater London, England) · Newspapers.com
