Tennessee Williams – Page 2

“Clubbing” Up West, 13 March 1992, The Night Of The Iguana by Tennessee Williams, Lyttelton Theatre, 14 March 1992

Excellent

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.

Here is the Theatricalia entry for this production.

I’ve always been partial to a bit of Tennessee Williams and this play/production is a good example of why Williams is worth watching.

There’s a good synopsis of the play on Wikipedia – here.

Frances Barber as Maxine, Alfred Molina as The Reverend Shannon, Eileen Atkins as Hannah…top cast. Richard Eyre in the director’s chair.

Richard Burton, Ava Gardner & Deborah Kerr starred in the Hollywood film version – films are different, but here is a clip:

Returning to the 1992 production, here is Kate Kellaway’s preview piece from the Observer:

Kate Kellaway Preview Iguana Sun, Feb 2, 1992 – 59 · The Observer (London, Greater London, England) · Newspapers.com

Below is Michael Coveney’s Observer review:

Michael Coveney on Iguana Sun, Feb 9, 1992 – 60 · The Observer (London, Greater London, England) · Newspapers.com

Below is Michael Billington’s Guardian review:

Billington on Iguana Sat, Feb 8, 1992 – 21 · The Guardian (London, Greater London, England) · Newspapers.com

It really was a cracking night of theatre.

Orpheus Descending by Tennessee Williams, Theatre Royal Haymarket, With Jilly, Followed By Annalisa’s Party, 10 December 1988

Obviously I was better from my 48 hours of food poisoning by the Saturday. I’m pretty sure I went in to work on the Friday and then a full weekend of activities.

Now I have had written complaints from Jilly already about my handwriting, so the above page is only for artistic effect. Here is the entry for the Saturday:

Saturday 10 December: Driving lesson & Orpheus Descending With Jilly & Annalisa Party

There – that wasn’t so challenging, now, was it?

I remember really liking this play and production. What a fabulous cast.

The Theatricalia website lists the production thus.

Note that we saw this production three days before the stated first performance, so Jilly and I must have gone to see a preview.

Below is Michael Billington’s Guardian review:

Billington on Orpheus Thu, Dec 15, 1988 – 28 · The Guardian (London, Greater London, England) · Newspapers.com

Below is Kate Kellaway’s Observer review

Kate Kellaway on Orpheus Sun, Dec 18, 1988 – 40 · The Observer (London, Greater London, England) · Newspapers.com

They made a film based on that Peter Hall production with some (but not all) of the cast we saw in it. Here is the trailer for that movie – far more melodramatic looking than the stage production I remember, but still it should give you some idea:

For that particular evening, I’m sure that the original idea was that Bobbie would join me to see this play/production. But when she had to pull out for some reason, it made a great deal of sense for Jilly to act as sub, especially as we were both invited to Annalisa’s party and were given leave to be fashionably late arrivals.

In truth, I cannot remember specific details of this particular party at Annalisa’s place in Hinde Street, but her parties were always popular, always lavish in hospitality and always late nighters. At that time, just a couple of years after Annalisa had finished at Keele, I suspect it was a very Keeley crowd that night.

As the diary says, on the Sunday, I:

…went to G Jenny with Ma & Pa…

…the next day, quite probably a little tiredly and sore-headedly. But Grandma Jenny no doubt wanted to know all about my new flat and my new job, so I’ll guess that I was centre of attention that Sunday afternoon.

Cat On A Hot Tin Roof by Tennessee Williams, Lyttelton Theatre, 12 March 1988

Bobbie and I were on a bit of a roll, theatre-wise, at the start of that year, seeing some great productions. This was certainly one of them.

Lindsay Duncan was a most memorable Maggie The Cat and Ian Charleson was superb as Brick; tragically Charleson died just a couple of years after this production. The cast also included Eric Porter, Alison Steadman, Henry Goodman…plus many other fine performers. Howard Davies directed.

Here is the Theatricalia entry for the production.

The Lyttelton is not my favourite place for this sort of play, but somehow this one seemed to work in that space. I seem to recall it received superb notices and for good reason.

Michael Billington loved this production – his review clipped below:

Billington On Cat Fri, Feb 5, 1988 – 18 · The Guardian (London, Greater London, England) · Newspapers.com

Clearly Michael Ratcliffe liked it too:

Michael Ratcliffe On Cat Sun, Feb 7, 1988 – 26 · The Observer (London, Greater London, England) · Newspapers.com

There’s little on-line about this particular production, given its antiquity, but if you have no idea even what the piece looks/feels like, here is a clip of Paul Newman and Elisabeth Taylor from the 1950’s film version:

…while the following clip is from a subsequent National theatre production of Cat:

Anyway, the Lindsay Duncan & Ian Charleson version will live long in my memory. Bobbie’s too, I’ll guess. I’d better ask her.

Sweet Bird of Youth by Tennessee Williams, Theatre Royal Haymarket, 2 November 1985

Image from e-bay, click here, where this programme can be bought

This theatre visit predates my relentless keeping of programmes and logs. Aspects of it are well-logged in my memory – the fact that Lauren Bacall played The Princess Kosmonopolis and the fact that the production was at the Theatre Royal Haymarket, for example.

It had slipped my memory, however, that Harold Pinter, one of my heroes, was the director. I was probably seduced by that fact, combined with a chance [did you see what I did there?] to see Lauren Bacall in a play that I had studied with dry-mouthed admiration at school; it indeed had been this play that turned me on to Tennessee Williams.

West End ticket prices for hot shows, even in those days, were a stretch for an apprentice professional lad just down from University and would also have been a stretch for Bobbie – just embarking on her second year of pupillage. But stretch we did, and, with hindsight, delighted that we stretched am I.

Here is the Theatricalia entry for this play/production. This tells me that the production had been doing the rounds of theatres royal and palace-like, prior to autumn at the Theatre Royal Haymarket.

Full formal reviews will take some digging, but Harold himself got there before me with a super one-pager summarising the best of the notices – click here to link to that page. In the unlikely event that misfortune befalls haroldpinter.org, click here for a scrape of that page.

I have rummaged for some interesting newspaper stuff on this production as well as reviews. Here’s a reflective piece by Roy Hattersley, of all people, suggesting that this play/production is not for young folk. Try telling that to 23-year-old me and 22 year-old Bobbie: