WALKING IN A WEST END WONDERLAND
PART 4
After
a very long absence, it's time to return to London's fabulous West End, with a
detour to the Fringe. Today's offerings include plays all but unheard of today
by Ronald Harwood and Peter Nichols, a vibrant play by Tom Kempinski, one of
the funniest revues I have ever seen, and a small-scale version of a Kander and
Ebb Broadway failure that sparkled on its intimate stage. Let's begin.
FLORA, THE RED MENACE –
Orange Tree Theatre – Richmond (London), UK
The intimate Orange Tree Theatre. I was on the right side second row on the aisle. Let's talk closeup and personal!
August,
1995. Probably best known as the musical that introduced Liza Minnelli to
Broadway, the musical that marked the debut of the legendary songwriter duo of
John Kander and Fred Ebb, and the musical that introduced two cabaret staples,
"A Quiet Thing" and "Sing Happy," Flora, the Red Menace was apparently a show that never quite jelled
and, except for its dynamic leading lady and a few good numbers, was dismissed
by the critics and closed after a very short run. Happily Kander and Ebb, with
new bookwriter David Thompson, took another look at their first-born in the 80s,
dropped songs, added new ones, dropped plot points, added new ones, trimmed the
cast from twenty-five to nine, and gave the show what had apparently been
missing back in 1965: relevance, a heart and a conscience. Flora will never rank as one of Kander and Ebb's finest
collaborations, but I found it thoroughly delightful and as produced by the
Orange Tree Theatre, it was loaded with charm and talent. Lucy Tregear may not
have had Flora's iconic originator's
outsized talent, but she gave Flora an honesty and depth that I found
refreshing and when she sang "A Quiet Thing," you could hear a pin
drop. Dale Rapley was her capable co-star and the entire company was
first-rate. Up until then, I literally knew nothing about Flora except for statistical information and a vague knowledge of
the plot (idealistic fashion designer joins the Communist Party in the Red
Scare of the 1930s during the Depression and complications ensue) and had never
heard the score, with the exception of the songs mentioned above. For me, this
performance was a wonderful discovery and an unexpected treat.
Sidebar: The Orange Tree Theatre is located
in Richmond, about 30 minutes by Tube from the West End. Situated in a small
business district, there are pubs and restaurants nearby. The theatre itself is
a 172-seat in-the-round gem with only three rows of seating downstairs, plus a
single row in the gallery, which made the performance seem even more intimate
and involving. I was at the end of the second row by an entrance and actors
literally were inches from me and at times casually interacted with the
audience. An ideal spot for this show.
BORN IN THE GARDENS – Globe
Theatre – London
Top: Beryl Reid, Peter Bowles
Bottom: Barry Foster, Jan Waters
May,
1980. The impetus to see this minor play by Peter Nichols, author of A Day in the Death of Joe Egg, Passion Play,
The National Health and the screenplay of Georgy Girl, was to see Tony-winning Beryl Reid on stage. Despite a
cast that included, in addition to Ms. Reid, Barry Foster, Peter Bowles and Jan
Waters, all skilled above-title stars, and direction by the esteemed Clifford
Williams, I remember next to nothing about this play. Generally this means I
had a decent, if not memorable time, at the theatre. I do remember it was a family
drama with Ms. Reid, in a role that was about as far as one could get from her
award-winning turn as June 'George' Buckridge in The Killing of Sister George, as the adorably irritating and sweetly
dotty matriarch, and had something to do with reality trying to squash the reassuringly
daffy life, as only the British can portray it, of Ms. Reid and her son, played
by Mr. Foster. The matinee ladies enjoyed it. Sweetly dotty and adorably
irritating old people on stage tend to make me want to dash onto the stage and
push them into the pit. Ms. Reid was no exception, but I'm mighty glad I got to
see her on stage.
Sidebar: Somewhere between The Killing of Sister George and 1975,
when I found this vinyl "long playing" treasure in a store in the Pennyrile Mall, now Bradford
Square Mall, in Hopkinsville, Kentucky, during my tenure there while rehearsing
and performing in 1776 at Fort
Campbell, Kentucky, Beryl Reid recorded a London studio cast recording of Mame, with popular stage and television
star Joan Turner as Vera. To call it a train wreck is a disservice to train
wrecks. The sheer awfulness of it is jaw-dropping and yet there is something
oddly appealing about it. Joan Turner pretty much nails Vera, but poor Beryl.
She tries so hard, but the score is just so out of her skill set. Why it was
recorded is anyone's guess. It's on something called Music Records and just has
to be heard to be believed. Or not. Curiously, it has the brightest version of
the overture I've heard. Go figure.
THE DRESSER – Queen's
Theatre – London
May,
1980. Ronald Harwood's backstage drama about a dresser (Tom Courtenay) and an
aging Shakespearian actor (based on Sir Donald Wolfit and played by Freddie
Jones) touring the English provinces during WWII opened only two weeks or so
earlier to rave reviews, long queues at the box office and full houses.
Everything about the production was faultless: design, direction, acting. The
lead performances of Messrs. Courtenay and Jones were simply outstanding. And
yet, I simply did not care for it. I admired
it, but it didn't move me. I wanted to like it; I truly felt I should like it, but… When the play was
published, I read it. I still didn't like it. When the movie came out, I saw
it. I still didn't like it. I suspect I'm wrong in my opinion of the
play, but there it is. Maybe I'll give the play another read. For the record,
my friend shared my opinion. (Perhaps our seats in the Upper Circle had
something to do with our opinion, but I rather doubt that.)
DUET FOR ONE – Duke of York's Theatre – London
A very young Frances de la Tour (mid-30s)
Terribly considerate of the Management to provide vino at the Interval and how terribly considerate of them to let us know it's available.
February,
1981. Based on the life of famed cellist Jacqueline du Pré, Duet for One was written by playwright
Tom Kempinski specifically for his then-wife, the wonderful Frances de la Tour.
She returned the favor by delivering a riveting performance of depth, nuance and
a great deal of humor, matched by an excellent performance by her co-star,
David de Keyser. De la Tour won her first Olivier Award for her portrayal as a
concert violinist whose career was cut short by multiple sclerosis. Two-character plays are not easy to begin with. A play that is, at heart, simply a
series of interviews between patient (de la Tour) and shrink (de Keyser) is even
more difficult, especially when the leading lady is confined to a wheelchair,
yet director Roger Smith kept the theatregoer involved with his clean and
unfussy staging. Kempinski Americanized his script for the Broadway production,
a quick failure starring Anne Bancroft and Max Von Sydow and the film version
starring Julie Andrews was well-received, though not a box office success. This
lovely play has pretty much fallen off the radar, at least on American soil,
and that's quite a pity.
TOM FOOLERY- Criterion Theatre – London
The talented and versatile cast.
L-R: Robin Ray, Jonathan Adams, Tricia George, Martin Connor
February,
1981. A collection of classic Tom Lehrer songs, a spiffy production, and a cast
of four inspired performers. What's not to love? I certainly loved it and, to
this day, it holds a special place in my heart as one of the most entertaining evenings
in the theatre I've ever had. Revues may, on the surface, appear easy, but a
successful revue is more than just a collection of songs. It needs a dramatic
thread of some sort, a structure, a reason for each song in the revue. The
Brits are very adept at producing great revues, for example, Cole, Cowardly Custard, Side by Side by Sondheim, and this tasty morsel
of satiric irreverence can proudly take its place among them. What can I say
about Lehrer's songs? Even today, they're funny, pointed, and still, decades
later, relevant, sometimes sadly so. Robin Ray was the genial host;
Jonathan Adams, Martin Connor and an especially delightful Tricia George were
his wonderfully talented playmates. Breezily sophisticated and crisply directed
by Gillian Lynne (she'd go on to choreograph a show called Cats), I enjoyed every minute. Highlights? "I Got It from
Agnes," "Poisoning Pigeons in the Park," "We Will All Go
Together," "The Vatican Rag," and, best for last, "Irish
Ballad." The original cast album was recorded live and it gives a taste of
the rollicking fun that was going on at the Criterion Theatre. (Note: if Bob
ever directs this, the Robin Ray role is mine!)
And
that's it for now. Stay warm!
©
2015 Jeffrey Geddes
