W Stephen Gilbert writes: My best pal Tony and I played Faustus and Mephistopheles respectively in our school production of Marlowe's play, so when, shortly afterwards, the Oxford University Drama Society announced its great coup in securing former member Richard Burton to play Faustus in an otherwise student production, we naturally booked seats. The pivotal moment when Helen of Troy walks across the stage is always a directorial headache. The most recent Stratford revival had opted for a totally naked Helen, still a sensational gambit in the 1960s. Our director had cast the prettiest boy in the (all-male) school.
Ouds, with its star's help, was able to summon real magic in having Burton's wife appear as the legendary beauty. Imagine: the first stage appearance anywhere in the world of Elizabeth Taylor (obituary, 24 March). And – surely unprecedented on any occasion – she never uttered a word.
On the day of the performance for which we had booked,...
Ouds, with its star's help, was able to summon real magic in having Burton's wife appear as the legendary beauty. Imagine: the first stage appearance anywhere in the world of Elizabeth Taylor (obituary, 24 March). And – surely unprecedented on any occasion – she never uttered a word.
On the day of the performance for which we had booked,...
- 4/12/2011
- The Guardian - Film News
Thank you for Xan Brooks's kind mention of Bronco Bullfrog (The film the UK forgot, Film&Music, 4 June). But I obviously have to make an apology. It was heartening to read Sam Shepherd's story of the Princess Royal recognising her own mum in Mrs Shepherd's portrayal of working-class prejudice in the film, reminding one of a slightly better, more open society that we grew up in. I was shocked, however, to read the word I am reported to have used of Peter Hall. Perhaps I have little opinion of anyone working in commercial cinema, but Peter would be among the least of my bete noire, and I have to believe that I must have been quoting Joan Littlewood in using such an unattractive word about him.
Joan notoriously thought we were all aptly described with anatomical misnomers. It is galling though, both for her ghost and for myself, to be caught out like this.
Joan notoriously thought we were all aptly described with anatomical misnomers. It is galling though, both for her ghost and for myself, to be caught out like this.
- 6/7/2010
- The Guardian - Film News
W Stephen Gilbert writes: Not being so much of a theatregoer, David Thomson omits one of Jean Simmons's most significant performances in his typically shrewd obituary (25 January). In 1975, she led the cast in the first London production of the Stephen Sondheim musical A Little Night Music.
We already knew from the movie of Guys and Dolls that Simmons, though not possessed of a trained voice, could charmingly if a little perilously carry a tune. This was exactly the requirement for the vocal appeal of Desiree Armfeldt, the role originally written for Glynis Johns. The character's signature number, Send in the Clowns (still Sondheim's most widely known and recorded), works much better in near-sprechgesang than if sung full out, as many usually unimpeachable singers have demonstrated. Simmons was also perfectly cast for that natural quality that Thomson identifies, the proper manner belied by hints of mischief.
Dorothy Tutin and Judi Dench...
We already knew from the movie of Guys and Dolls that Simmons, though not possessed of a trained voice, could charmingly if a little perilously carry a tune. This was exactly the requirement for the vocal appeal of Desiree Armfeldt, the role originally written for Glynis Johns. The character's signature number, Send in the Clowns (still Sondheim's most widely known and recorded), works much better in near-sprechgesang than if sung full out, as many usually unimpeachable singers have demonstrated. Simmons was also perfectly cast for that natural quality that Thomson identifies, the proper manner belied by hints of mischief.
Dorothy Tutin and Judi Dench...
- 1/26/2010
- The Guardian - Film News
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