The Buddha Of Suburbia by Hanif Kureishi, Swan Theatre, 16 May 2024

To round off our short break in Stratford, we had arranged to see The Buddha of Suburbia.

I read this novel “back in the day” and remember really wanting to like it and enjoying the subject matter yet not liking it all that much as a novel. I also recalled that it had been turned into a TV series “back then”, which I didn’t see but which I imagined might have been a better medium for the story than the novel.

Thus, all those months ago when we planned this trip, I told Janie that I fancied seeing this show and she needed little persuading.

We are so glad we chose it.

The Swan was an excellent setting for this production

Here is a link to the RSC materials on this show – a comprehensive pack which spares me a great deal of trouble, as I need not repeat this stuff!

The reviews were already out by the time we got to this one, not that we are raving about it just because the critics seemed so impressed. Here is an unfiltered link to reviews that should find good and bad ones – they seem pretty much all to be good ones.

We pretty much agree with the main points that flow from the reviews. On the whole we are not mad about long shows, but this seemed a breeze to us despite being close to three hours long (including the interval).

The 1970s look and soundscape was a trip down memory lane for us, much as it was for Hanif Kureishi I suppose. The main sentiment is joyous celebration of the era and coming of age, but there was plenty to think about too, in terms of the ugly aspects of that era, not least overt racism.

We sat in the front row, which got us caught up in the one small piece of audience participation in this show. That was mostly directed at Janie but also, in the end, also at me.

Maybe I shouldn’t have worn THAT shirt.

Still, we survived the experience and anyway Janie and I are used to people laughing at us.

At the time of writing there is as yet no sign of a West End transfer, but surely this wonderful piece will lend itself to a decent and successful run in The Big Smoke.

The Flying Lovers of Vitebsk by Daniel Jamieson, Sam Wanamaker Playhouse, 18 June 2016

The Flying Lovers of Vitebsk was a really super production – click here for The Globe’s information on the piece, which includes extracts from and links to the excellent reviews.

Just as well, really, because Janie had been really looking forward to this for months, which might have been a recipe for disappointment. She loves Chagall.

We had whet our appetites for this piece a few days before, by visiting The Globe for our complimentary members’ tour.  But we hadn’t seen the inside of the Sam Wanamaker, as the playhouse was too busy getting ready for the start of our production.

Anyway, it all went right on the night. We got to the neighbourhood ridiculously early, wanting to make sure we allowed time for the relatively long journey and time to park up without time pressure. As we had mistakenly written down 7:30 when in fact the play started at 8:00, we had plenty of time to anticipate the production.

A lady came and sat with us for a while, then in the interval did the same again, bringing her husband with her that time. Unusual.

The Playhouse is not all that comfy; we noted where we might prefer to sit for next time – only some rows have back support for example.

Lots of candlelight for this production, which pleased Janie. I liked the cockamamie set. It was a charming play – quite straightforwardly linear in telling the story of Marc and Bella Chagall. But the two leads, Marc Antolin and Audrey Brisson who really made the show; super talented and delightful to watch.

We’d had a terrific weekend of theatre; this one and Wild on Friday both really excellent. We celebrated with a take away from Mohsen’s – probably the best of the Persian places we have tried for Persian-style kebabs at least. Probably Jewish food would have been more fitting, but where can you get that at 22:30 on your way from Bankside to W3?

Josephine And I by Cush Jumbo, Bush Theatre, 13 July 2013

Not normally our type of show, but we loved the idea of this one – performed cabaret style and about Josephine Baker, who had such an interesting life.

Cush Jumbo, who wrote and performed this show, is clearly a very talented young person.

We enjoyed our unusual evening at the Bush. In truth, though, we thought the show a victory of style over substance – we wanted to learn a lot more about Josephine Baker and or experience more drama. We were there very early in the run – in effect at a preview – so the show might have matured/improved after we saw it.

Click here for a link to the Bush resource on this production.

Below is a little promo vid/interview with Cush Jumbo about the show:

Click here for a link to a search term that finds the reviews – which were mostly excellent.

The show got a transfer to New York too, so our relative indifference towards the show wasn’t shared by the critics nor the producers.

Janie and I also recall running into our theatre friends John and Linda at this show – this is a couple we often see at the theatre – but because of the nature of this show we got a chance to have a proper chat with them in this cabaret-style setting of the Bush.

Di And Viv And Rose by Amelia Bullmore, Hampstead Theatre, 18 January 2013

Janie and I really enjoyed this play/production.

We missed it when it was first performed downstairs; not sure why as the subject matter will have appealed. Perhaps it coincided with one of our holidays and/or a heavily booked period.

Anyway, the Hampstead knew a hit when it saw one and transferred the piece upstairs (and subsequently beyond).

Here is a link to the Hampstead resource for the version we saw.

All three performers, Anna Maxwell Martin, Gina McKee & Tamzin Outhwaite, were truly excellent. Extremely well directed and produced too.

Excellent reviews, deservedly so, can be found through this search term – click here.

Only Tamzin Outhwaite from the cast transferred to the West End with it. Here is the trailer for the transfer:

Well done Hampstead – this was a real goodie.

Feelgood by Alistair Beaton, Hampstead Theatre, 26 January 2001

We had a very entertaining weekend at the end of January that year, seeing Feelgood on the Friday and then Entertaining Mr Sloane on the Saturday…

…just before heading off for a wonderful holiday in South-East Asia.

On the Friday evening, we saw Feelgood. We would have eaten at Harry Morgans before the show. I remember this play having a superb cast: Jeremy Swift, Henry Goodman, Amita Dhiri, Nigel Planer, Pearce Quigley, Sian Thomas, Nigel Cooke and Jonathan Cullen (according to my log), and being lots of fun. Max Stafford-Clark directed it. It transferred to the Garrick with a slightly different cast – Peter Capaldi taking Jeremy Swift’s place. Here’s the Theatricalia entry for that one.

Nicholas de Jongh really liked it in The Standard, especially heaping praise on Henry Goodman’s performance:

Feelgood, de Jongh Standard Feelgood, de Jongh Standard 1 Feb 2001 Evening Standard (London, Greater London, England) Newspapers.com

Charles Spencer in the Telegraph gave it a short but positive review too:

Feelgood Spencer Telegraph Feelgood Spencer Telegraph 10 Feb 2001 The Daily Telegraph (London, Greater London, England) Newspapers.com

Our friend Michael Billington covered Feelgood in a general piece about political theatre at the start of 2001:

Feelgood plus, Billington Guardian Feelgood plus, Billington Guardian 17 Feb 2001 The Guardian (London, Greater London, England) Newspapers.com

Billington concludes that article with a statement that seems oh so apposite as I write 25 years later:

…theatre is a place of information as well as entertainment and the more it cuts itself off from society – and relies on a mixture of anodyne musicals and Hollywood-star casting, the more it is doomed to glamorous irrelevance.

The Caretaker by Harold Pinter, Comedy Theatre, 10 November 2000

We booked this preview, leaping in ahead of the reviews, for a Friday evening, at the start of a big weekend of “show-going” for us. We were all booked up for Saturdays and I would have been very keen indeed to see this.

Rupert Graves as Mick, Douglas Hodge as Aston, Michael Gambon as Davies, directed by Patrick Marber, in a 40th anniversary production. Wow. Here’s the Theatricalia entry for this production.

I had seen the play before – on a school trip in 1977 at The Greenwich Theatre, with Max Wall playing Davies, Anthony Higgins playing Mick and Peter Guinness as Aston. I’ll write that up in the fulness of time. Meanwhile, here’s the Theatricalia entry for that production.

Undocumented (although it will be Ogblogged at some point) is my own performance as Aston for AO-level drama at School in 1979.

But returning to 2000, let’s have a look at how Janie and I got on at The Comedy Theatre – now renamed the Pinter Theatre, as it happens.

Nicholas de Jongh wrote very highly of it, wondering only about Gambon not quite ringing true:

Caretaker de Jongh Standard Caretaker de Jongh Standard 16 Nov 2000 Evening Standard (London, Greater London, England) Newspapers.com

Dominic Cavendish also seems to have cognitive dissonance in the matter of the Gambon performance:

Caretaker Cavendish Telegraph Caretaker Cavendish Telegraph 17 Nov 2000 The Daily Telegraph (London, Greater London, England) Newspapers.com

Our friend Michael Billington gave this one a rare five stars. Say no more:

Caretaker Billington Guardian Caretaker Billington Guardian 16 Nov 2000 The Guardian (London, Greater London, England) Newspapers.com

Susannah Clapp also gushed…

Caretaker Clapp Observer Caretaker Clapp Observer 19 Nov 2000 The Observer (London, Greater London, England) Newspapers.com

Paul Taylor agreed.

Caretaker Taylor Indy Caretaker Taylor Indy 16 Nov 2000 The Independent (London, Greater London, England) Newspapers.com

You get the idea. I did the right thing booking a preview on a Friday. You wouldn’t have been able to get a ticket for love nor money once the reviews came out.

Janie’s diary tells me that we were in Row C. Mine tells me that I parted company with £60, which I suppose was sort-of real money back then.

Oh, but worth it. I will return to the topic of Gambon’s drifty accents when i write up my own Pinter acting experience from 1979. Watch that space.

Pidgin MacBeth by Ken Campbell, Cottesloe Theatre, 1 August 1998

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:

Guardian Wol NambawanGuardian Wol Nambawan 22 Jul 1998, Wed The Guardian (London, Greater London, England) Newspapers.com

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:

Gardner Guardian PidginGardner Guardian Pidgin 14 Oct 1998, Wed The Guardian (London, Greater London, England) Newspapers.com

Charles Spencer was less sure about it:

Spencer Telegraph PidginSpencer Telegraph Pidgin 13 Oct 1998, Tue The Daily Telegraph (London, Greater London, England) Newspapers.com

Nick Curtis in The Standard was far more forgiving :

Curtis Standard PidginCurtis Standard Pidgin 12 Oct 1998, Mon Evening Standard (London, Greater London, England) Newspapers.com

This post production article by Dan Glaister in The Guardian describes Ken Campbell’s campaign taking this play to Papua New Guinea. Cool.

Glaister Guardian Pidgin TourGlaister Guardian Pidgin Tour 19 Nov 1998, Thu The Guardian (London, Greater London, England) Newspapers.com

I wish I could write stuff like that.

Mebi Wilum Sekspia, No Mebi Wilum Sekspia

The Old Neighbourhood by David Mamet, Royal Court Theatre at the Duke Of York’s Theatre, 11 July 1998

All I wrote in my log was:

No interval.

That suggests that we didn’t get a great deal out of this one, unusually for Mamet. Possibly we just felt that we’d seen a lot of material like this before.

Was it three short plays or one play with three somewhat disconnected scene?. I wrote down

The Disappearance of the Jews, Jolly and Deeny.

Splendid cast: Linal Haft, Colin Stinton, Zoe Wanamaker, Vincent Marzello and Diana Quick, directed by Patrick Marber.

Nicholas de Jongh really liked it:

de Jongh, Standard, Mametde Jongh, Standard, Mamet 24 Jun 1998, Wed Evening Standard (London, Greater London, England) Newspapers.com

Our friend, Michael Billington also liked it a lot:

Billington Guardian MametBillington Guardian Mamet 24 Jun 1998, Wed The Guardian (London, Greater London, England) Newspapers.com

Charles Spencer in the Telegraph was less sure:

Spencer Telegraph MametSpencer Telegraph Mamet 25 Jun 1998, Thu The Daily Telegraph (London, Greater London, England) Newspapers.com

Kate Kellaway’s interview with Patrick Marber is very interesting:

Kellaway Observer Marber InterviewKellaway Observer Marber Interview 14 Jun 1998, Sun The Observer (London, Greater London, England) Newspapers.com

Reading these reviews and the interview, I think I should, 25 years later, re-read the play(s) and see what I think of them now.

Copenhagen by Michael Frayn, Cottesloe Theatre, 4 July 1998

We both thought this one was superb. Indeed, my log entry has just that one word:

Superb.

I’ve always been partial to a bit of Michael Frayn. This piece helped maintain and enhance my high regard for his work.

Great cast and crew; Sara Kestleman, David Burke and Matthew Marsh performing, Michael Blakemore directing.

Here is a link to the Theatricalia entry.

Our friend Michael Billington loved it and even came up with the sort of witty headline that pleases me…

Billington Guardian CopenhagenBillington Guardian Copenhagen 30 May 1998, Sat The Guardian (London, Greater London, England) Newspapers.com

…although personally I’d have gone for “Wonderful, Wonderful Copenhagen”, but then what do I know?

Nicholas de Jongh in TheStandard also liked it:

de Jongh Standard Copenhagende Jongh Standard Copenhagen 29 May 1998, Fri Evening Standard (London, Greater London, England) Newspapers.com

Kate Kellaway in The Observer also raved, rating Matthew March “magnificent”:

Kellaway Observer CopenhagenKellaway Observer Copenhagen 31 May 1998, Sun The Observer (London, Greater London, England) Newspapers.com

Heck, Copenhagen ran for years and has been revived several times.

Finally, this Michael Frayn interview with Max Davidson just ahead of the first night is fascinating (at least it is to me):

Max Davidson Sunday telegraph with FraynMax Davidson Sunday telegraph with Frayn 24 May 1998, Sun Sunday Telegraph (London, Greater London, England) Newspapers.com

The Day I Stood Still by Kevin Elyot, Cottesloe Theatre, 24 January 1998

Superb. One of the best.

My logged comment suggest that we really liked this one. We both really did.

There is a Theatricalia entry for this one with all the details – click here. Adrian Scarborough was excellent in the lead role. Ian Rickson directed.

Nicholas de Jongh liked it in The Standard:

23 Jan 1998, Fri Evening Standard (London, Greater London, England) Newspapers.com

My friend Michael Billington liked it but didn’t love it in The Guardian:

23 Jan 1998, Fri The Guardian (London, Greater London, England) Newspapers.com

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.

25 Jan 1998, Sun The Observer (London, Greater London, England) Newspapers.com

Charles Spencer in The Telegraph also spoke highly of it with some limitations:

31 Jan 1998, Sat The Daily Telegraph (London, Greater London, England) Newspapers.com