Georgiana's Journal

At the stage door, Mr. Rickman indicated the run is to be extended a few weeks in January. Mr. Godfrey appeared to feel it was something of a 'done deal' that it would go to New York, more dependent upon the financial impact of world events on Broadway than on any decisions by the creative people involved. So there is hope on many fronts.

I am ever so looking forward to several more performances.

Georgiana (oh, my, back to these British keyboards with keys in the wrong places--grin--please forgive...) London - Tuesday, October 30, 2001 at 04:27:48 (PST)

Another lovely performance last night. The cast appears under the impression that they are going to Broadway--barring impact of world events. It is quite an amazing production--lovely physical bits throughout giving depth and new insights each time through.

Last night was of a major GB contingent filling the center stalls. Lovely to meet Raffaella! And Marian. And Judy. And I'm sure to be missing some... And to again see Claire and Dana and Anne. So something of an enthusiastic crowd.

Steve, I see no 'acorns' whatsoever remaining at the Albery. I am told there was some hint of fresh paint in the stairwells at the end of last week--so perhaps they have headed the concerns. Hope you soon get to see this. Last night was again sold out--or 'house full,' as they seem to favor.

Georgiana (off to see Judy Dench this afternoon...) London - Wednesday, October 31, 2001 at 04:20:56 (PST)

PS Suzanne, he will think yours is the commonest name on the planet for the number of folks having programs and photos signed for you--and Anne has a little something extra special. Georgiana (apologizing for this aside)

November

I had worried about whether this 'fluff' could sustain repeat viewings. As they have done it, it has backbone. It can. Georgiana (lovely last night to see Raffaella, Ada, Judy, Anne. Mr. Rickman told Raffaella he knew her name from the flowers! Thanks, Suzanne! And, Steve, if you want to give it a try with help, give a holler.) London - Thursday, November 01, 2001 at 03:51:54 (PST)

...Well, more convincing tenderness last night, but Mr. Rickman might do well to pause a bit more before some lines. For example, he says to Sybil (not a tender moment, mind, but, anyway...), 'Oh, dear. I hope you're not bored.' The line has yet to get a laugh--although, mind, you, the gesture that follows always does. Ah, well, seeking perfection when it is merely nearly so! But Lindsey Duncan is so exquisite at drawing out the moment--she has more posed looks getting laughs than you can imagine. Must say, Mr. Rickman is close to the best physical comedian I have ever seen. And, yes, amazing how potent a song can be--I find myself humming 'Somewhere I'll find you...' on the tube every night!

Georgiana (missing all the GBers, now departed...) from the fourth row in balmy London - Friday, at 04:30:12 (PST)

FROM THE STALLS, SEAT C-15 SPOILERS AHEAD: The theater director from Nottingham to my right last night--who directed PL last year--found the second act 'labored.' I don't know if this meant the dialogue or stretches where it was absent. (The couple on my left must have wandered into the wrong play, seeming determined not to laugh and glaring at anyone who did!) I found it delightful, as usual. In fact, more so, as there were moments so ernest it was like watching Jacques Roux.

I don't know if I am hallucinating or not, but I found Mr. Rickman far more persuasively tender. I am still bothered by a bit in the first act where a misty Amanda reminisces about Elyot having once tied on her skates. He softens to her with arms resolutely folded across his chest. Whereas this may represent a languid and Coward-ly pose, it strikes me repeatedly as closed and resistant body language at odds with the tender words. (Perhaps they could move the chair to the other side of the little table and let him rest his hands upon its back instead?) But near perfection.

I am glad lady what's-her-name [Lady Bundle, of course!] returned last night to blowing shrimp through her ear trumpet; she used a more modern hearing aid the night before.

I must say, although caramel in photographs, the hair is superb with a dusting of grey at the temples, starting damped down at the beginning of the play, progressively more tousled and chaotic paralleling Elyot's behavior. And, ah, but Renie, the h*nds! Lighting cigarettes (yes, herbal, they say--still putting one fellow in the audience into spasm last night), passing cases, plumping pillows, extending martini glasses, pouring brandy, raising same to sip, buttering brioche, most marvelously in the first act moving across Amanda's stomach and hip to draw her near, twice mocking the fall of water in a tiered fountain in the third, flinging pillows and books and baskets in between.

This is lush stuff. Wish you were all here.

Georgiana Whiteleys' Internet Cafe, London - Saturday, November 03, 2001 at 03:19:12 (PST)

FROM THE STALLS, SEAT C-15 (SPOILERS AHEAD): I am amazed by two fresh outings back to back in the same day. Yesterday afternoon saw Mr. Rickman get applause merely for showing up! This was the first time this has happened in the week. (Although it was the case for both Judi Dench and Peter Bowles at 'Royal Family.') And Amanda's smile when they have discovered each other in Act I received the applause it deserves--another first for the week, although this has been reported in one or more review. I shall say again how lovely is Lindsay Duncan, and that she can cry on cue twice in a given day is truly amazing. But, then, these are seasoned professionals! Amanda talks of marvelous moments they have shared. Let me add a few to help you visualize the spectacle (you are reading along, aren't you?) Sybil states that there is 'nothing explosive here,' and what follows is an absolutely classic Rickman moment with a wonderful unbelieving laugh (how does he do that!) accompanied by this classic forward motion, hands in front, head leading. I have previously mentioned the plip, plop fountain rendition, with very similar hand movements. Ludicrous in its charm! Adam Godley's 'What?!' would have to qualify for the list of the marvelous. And (TRUE SPOILER) the flop onto his face on a pillow on the floor whereby Mr. Rickman punctuates an 'I am so depressed' speech never fails to catch the breath somewhere around the heart.

Tomorrow, I shall need help with a few of the references in the play, so get out your pencils and limber up those keyboard fingers: It shall be quiz time!

(Can anyone explain what the problem was with the lighting at the beginning of the second act last night? I was beginning to expect peals of thunder to accompany them. And remind me never to come around Guy Fawkes night again--or stay in a bigger hotel. There have been moments very reminiscent of residing in a kettle drum.)

Georgiana (I hope I am not irritating you will all this; I had promised Suzanne details! And those of you visiting the Albery, please pop by my seat!)) at Whiteleys, London - Sunday, November 04, 2001 at 03:56:13 (PST)

FROM THE ALBERY, SEAT C-15 (SPOILERS AHEAD): Last night, Elyot had a bit of trouble striking the gong, which deflated the laugh that followed. No, they do not appear the least bit tired, and I do think Mr. Rickman is continuing to refine the performance. They are amazingly constant actors and the entire cast is quite wonderful, as are the lush sets. It is interesting to see what sorts of minor troubles they can get in to, however. Like whether or not Victor sloshes his coffee when offered brioche. . .

It is difficult not to see Elyot as something of a cad, a bounder. Early in an argument with his wife on their wedding night, he proclaims, 'I should like to cut off your head with a meat axe!' This routinely draws laughts, I think from the shock and audacity of it. But Elyot's insistance that promiscuity is unsuitable to the female is generally met with a feminist groan or two--if not outright whistle or hoot. By the end, the line that gives me most trouble ('Certain women should be struck regularly, like gongs') generally garners smirks and chuckles, so fond have we become of Elyot and all his foibles (especially as played with full measure of that Rickman charm).

So on to the quiz:

1) Sibyl cannot find her lipstick in Act 1 Elyot advises they send down to the kitchen for some cochineal. What--pray tell--is cochineal?

2) Elyot tells us modern science gives us rats dancing like Tiller girls. Who were the Tiller girls?

3) Describe an ear trumpet. (Hint previously furnished.) What prop in the play does it resemble?

4) Why 'Lady Agatha'?

5) What is the right time of year for Tunis?

NEXT: The kisses!

Georgiana (Having a lovely time wandering by all the Harry Potter posters in the tube, with that scowling Snape at the bottom...) Whiteleys, London - Monday, November 05, 2001 at 02:58:06 (PST)

FROM THE ALBERY (no play last night--will be back this evening) (SPOILERS AHEAD)

You are all so wonderful! I do think you've got them all, although there seems to be some confusion about where the Tiller girls strutted their stuff. I do think they were talking about Austria or somewhere similar when discussing them (but didn't manage to get the play into my gym bag this morning). As to Lady Agatha, I took it as a reference to Christie's famous 'romantic' disappearance--wasn't that in the 1920s? And here is Amanda hanging out in a positively floridly red/pink love nest in Paris, having run away from her new spouse. Works for me.

The play tells us repeatedly that summer is no time for Tunis.

Yes, the grammophone horn

'Cochineal' and 'Tiller girls' never fail to get a laugh, so I assume the audience is more sophisticated than I (generally older, I'm afraid, unlike at 'Joe Egg,' where they were pretty uniformly in their 20s).

And, Elizabeth, to be transmitting from Snape Alley! I must have directions to that!

By the way, it is just lovely how the second/third act set looks to invitingly decadant in the second act, and so totally tawdry in the third--all a matter of throws and pillows!

I am still greatly bothered by Elyot continuously closed and folded as a pretzel in the first act, with Amanda relaxed, arms limp, seated, misty-eyed with reminiscence. His posture remains so incongruous with the words I can only conclude they opted here for 1930s cool over the much-tauted 'modern' interpretation. They use folded arms in Act 3 as punctuation for Elyot's pique.

Now for THE KISSES!. Elyot kisses Sibyl three times early in Act 1. (Plus one more? Can't recall--will have to pay closer attention tonight!) All of Elyot's kisses are with parted lips. It appears the rest of the cast are pursing theirs. When kissing Sibyl, however, Elyot holds tension in them (and you do not need front row seats to see this) suggesting something of a sneer--enough so that one would not be particularly eager to be Sibyl (well, okay, that is perhaps going a bit too far). When kissing Amanda, there is no such tension and his kiss relaxes more toward David kissing Alexis in 'Dark Harbor.' (I maintain the two kisses in that film leave little doubt as to who Rickman would be heading home with after work were he of a mind...)

This may be intentional. I'm also wondering if the look of distraction in the Sibyl scenes in the first act are also. Sunday matinee he seemed to actually look at Sibyl while addressing her--not quite so 'shifty eyed'!

OFF TOPIC: I saw 'Little Foxes' last night (at the Theatre Monkey's recommendation). It was quite delightful (and the Monkey's directions got me there quite readily from the Tube). Back to my hotel to find the firecrackers in Bayswater were largely expended over the weekend.
Thank g*d!

Georgiana (off to the gym in Notting Hill... and you are welcome, Steve) Whiteleys, London - Tuesday, November 06, 2001 at 02:10:43 (PST)

FROM THE ALBERY, SEAT C-15 (I move up a row shortly...)
SPOILERS AHEAD

Short listed for top awards by the Evening Standard! I can't think of anything more deserved. The third act in this play is so perfect it makes your teeth ache. And hard work, too--under suit coat and top coat, Mr. Rickman from time to time displays little beads of sweat on his forehead--last night, before beginning to bash about.

This Sibyl still has a couple of quibbles from earlier in the play. Why does Mr. Rickman pause, scrunch his face into a smile somewhere between Bugs Bunny and Elmer Fudd, before delivering the line, 'You're a completely feminine little creature, aren't you?' in the first act? I would think better to just barrel through it. And there is head-thrown-back posturing reminiscent of Tallulah Bankhead in the second act, right before 'I think I love you more than ever before,' that would not be missed.

On the other hand, there is a moment in the first act where Humphrey Bogart in 'Casablanca' comes deliciously to mind ('I'll go away tomorrow, whatever happens'). Lovely! And those lines I adore around 'It all depends upon how well we've played' were so extraordinarily tender last night that it brought tears to my eyes. So, in spite of a few bobbled syllables and a first act so rushed that we were out to break nearly 10 minutes early, I felt something had been missing by the one night off!

I had feared this play would not hold up to repeated viewings. There is no doubt it does--this is the 'fine old fruit' to which Elyot alludes. They have been to the well and found it deep indeed.

Georgiana (ignorning the spectacle of public urination around 11 pm as I headed through the alley to the tube after drinking with friends; glad I'm not easily embarrassed) Whiteleys, London - Wednesday, November 07, 2001 at 01:52:20 (PST)

FROM THE ALBERY, SEAT C-15: Mr. Rickman seemed exceptionally boyant last night. Must be lovely to be riding such a nice wave! I imagine these times are similar to when he was doing Tango, and RHPOT 'broke'!

Only other noteworthy item was again a cell phone, last night going off twice (the owners who can't figure out how to turn them off also apparently are incapable of silencing them) in the middle of the most tender scene between Elyot and Amanda in Act 1. Rickman and Duncan carried on bravely. The phone owner, sitting in the row ahead of me and over but one, proclaimed during the break to her companions her apologies, the fact that she 'never shuts it off' and something about someone with a rash. I hope Dante has prepared a special place for ... This is now three of nine nights--or 30% of the time. I would think it merits an announcement from management.

Hope to see you all there. I'll be the one who can't stop smiling through the third act. Marvelous! The sense of comedy and romance build so lovingly in this production that you leave humming, and wanting to return. Has not been 'house full' the past several nights, and the chatter around me suggests people (alas, mostly bearing cell phones) are getting quite good seats day of the performance.

HAPPY BIRTHDAY TO LINDSAY DUNCAN!!

Georgiana (have had fun with 'Yakima' with Magda, Laura! ) Whiteleys, London - Thursday, November 08, 2001 at 03:44:57 (PST)

FROM THE ALBERY, SEAT C-15:

Last night's performance was golden! The first scene between Elyot and Sibyl actually really 'worked' for the first time in the 10 performances I've seen, and you did not, for once, sit there wondering why did this man marry a women he so dislikes? Whereas several of the lines have seemed awkward in the past, everything flowed last night to a very enthusiastic audience. Last night's cell phone was at least (1) some distance back from the stage, and (2) ringing at a very busy point in Act 2, so not nearly as distracting as they have been. (I'd propose legislation requiring proof of intellect before cell phones can be issued...) Ms. Duncan seemed to have redone her hair a bit and it was much more stylish. She got enthusiastic applause again for that luscious smile when she first faces Elyot in Act 1--amazing timing and delivery. The people on either side of me had purchased their tickets the day of the performance (and were delighted to have managed it!), so it does not appear difficult to get seats to mid-week performances on short notice.

For those needing to travel to an Internet Cafe to see the AR interview--I recommend you do so! The comments on stage performances reviewed extensively in these pages is quite enlightening--it has the feel of a man confident that he is at the 'top of his game.'

Georgiana London - Friday, November 09, 2001 at 06:01:03 (PST)

Here are a few notes on the Hard Talk interview for those who have not been able to download same:

He caught the last 40 minutes of the HP premiere. Feels the 'hype' is from catching the coattails of 'something elemental' which has caught the public imagination. He is pleased in participating in something that is getting kids to read. Asked about payment schemes for British actors, they now participate in 'buy out'--and their only option is to decline a role.

Said to have 'wailed against having to go to Hollywood' to make films, he responded that one says lots of stupid things when young that you'd like to erase but there you are, 'hoist by your own petard.' That HP has an all-British cast is a tribute to the power of JK Rowling who has a 'wonderful sense of when to say "no."''

Asked about whether the critics are hurtful, he stated 'I don't think anybody reaches a point where you're inured.' He states actors make conscious choices--'it's not like we're getting it wrong.' He stated he had 'never been closer' to another actress as he was to Helen Mirren while they were doing A&C. He didn't know how well people know the play, but he viewed it as 'two leaders of the world,' and Anthony being an alcoholic. The play is 'extraordinary deconstruction of a great duo,' of two child-like people who were once great. Actors interpret, they don't create.

As before, he commented that the writing credit in WG is 'slightly inaccurate'--'every word is Sharman MacDonald's.' They learned most from the 12 year olds, and he gave an example in painting, where a child initially does the sky as a blue stripe across the top. One day the teacher points out that it goes all the way to the ground and is seen amidst branches--the world becoming more complicated and 'a bit more boring.' The boys knew nothing else but to listen to each other.

He stated that all the schools he attended, most particularly from 11 to 18, Latimer, had drama programs. His parents were supportive, and he remembers both, but especially his mother, placing/sticking up a black and yellow 'vote Labour' sign with each election. As to being a candidate for the Chelsea seat, 'they never talked' to him about it. If they had, the answer would have been 'no'--why would he run in a safe Tory seat? It was all 'complete nonsense.'

As to 'causes,' he supports Amnesty International (mentioned by Sebastian) but he particularly mentioned Children on the Edge and Action AID. He stated that his 'choices indicate a desire to connect with an audience.' He specifically mentioned a 'launch' for Action AID with which he is involved at the moment...

. . . and here the on-line version ends, at about 22 minutes. I'm not sure how long this show generally runs--half an hour at most, I believe, so this is likely near the end.

Georgiana (hope this gives you a flavor...) London - Friday, November 09, 2001 at 06:47:58 (PST)

Did anyone in LA manage to catch "John Gissing"? I'm dying for a more detailed review, the trailer looked like such fun.

There is a big HP banner in Leicester Square--but no Snape. He does appear, however, on the smaller ones hanging beside it--and, as Claire indicates, on virtually every bus stop, tube tunnel and bus in the city. That scowling face is 'round every turn. There was a run of the whole 'quizzing Mr. Potter' sequence on a film review show here (Cinema 2001 is it?).

FROM THE ALBERY stalls seat C-15 SPOILERS PERHAPS It was lovely meeting Cindie and her hubby. She saw some less than perfect walzing at the Saturday matinee. Our two thespians, true professionals, both skipped to get back in step. Of course, two corrections still left them hopelessly out of step. The evening's rendition of Fred and Ginger in pj's was much better, but they again got out of step near the end. It matters little, however, as the 'shrimp through the ear trumpet' line is uproarious every delivery--even the time it became a hearing aid. Have been some quite enthusiastic audiences several recent performances. In my usual lucky fashion (I know--how can I complain actually?) I've had quite a run of gum smackers, paper crinklers, snoring-while-awakers and one gent who seemed to feel the need to grunt his understanding of every other line in the play. Must note these have largely been male members of the audience--brings to mind those 'can't leave them alone' TV ads currently running in the US.

Georgiana (off for touring with Claire...) London - Sunday, November 11, 2001 at 02:47:56 (PST)

FROM THE ALBERY STALLS, SEAT AA-14 (I passed C-15 on to Claire yesterday, and will be somewhere in the middle of B row for the next week) (SPOILERS AHEAD)

Had a lovely time talking and seeing "Private Lives" yesterday with Claire (it will be embarrassing admitting to my artist daughter how I spent an entire half day at the National Gallery and saw only one painting!). It was the best overall Act 1 we have seen. Both the initial scene between Elyot and Sibyl--which is so often awkward--flowed smoothly (the 'second best' of my lot) AND the last scene between Amanda and Elyot in that Act was incredibly tender and moving. Lindsay Duncan remains amazingly constant in her ability to soften to tears performance after performance, but I do believe even Mr. Rickman had a tear in his eye by the end of last night's scene. This is truly amazing for being the last of seven weekly performances. The audience was responsive and enthusiastic and, for the first we have heard, applauded the end of that scene. It made them even slower to respond to the curtain fall at the end of Act I than usual. The only caveat was that, for the first time, there was a groan or two to Elyot's incredibly misogynist line, !I should like to cut off your head with a meat axe!" This is the first time I've heard this sort of response in the play--it is usually just shocked amusement at this point--and I wonder if that slight shift did not dampen the audience's enthusiasm; they failed to laugh, in Acts 2 and 3, at what have been thus far consistently reliable lines. Mr. Rickman slid on floor debris exiting the stage, to a great gasp, but managed to retain his footing, then bobbled closing the doors on the way finally out.

There was a busload that trooped in via the stage door after the performance to see Mr. Rickman. For a moment, I felt it was back to visiting with the Yorkshire tour guide. Rima came out with another woman a few minutes ahead of Mr. Rickman. She looked quite smart in a long black wool coat--as best I could tell from her back as she turned to stand in front of Claire and me. She was off, with several others, into J. Sheekey's as he started signing books, programs, scripts, etc. There was quite the crowd, including what appeared to be several commercial autograph seekers. One gent had a huge Harry Potter poster for signing. I assume you can keep a watch out on ebay . . .

Georgiana (tonight: Rufus Sewell in 'Luther' at the National) London - Monday, November 12, 2001 at 02:04:56 (PST)

BTW, Mr. Rickman handed the photo for Suzanne to Anne on October 28--it was the first performance I attended. Magda/Canada, I totally disagree with your take on Hard Talk. I say, rather, kudos to a public figure who thinks of his world--and tries to communicate same--in shades of gray, rather than black and white, well suited for sound bites. As to something personal, didn't someone just post a quote from Maggie Smith about a time when acting was about the craft, not about the person who did it? I was delighted to hear his artist's analogy, which is exactly on point. Although best known, I think, for his wide swaths of blue, I can't help but think it is the attempt to put sky between the branches that makes him so fascinating to watch.

I recommend the BG Wildlife photography exhibition at the Museum of Natural History to anyone finding time on their hands in London. I think it is the 11th year of the competition. There is a lovely book which accompanies, perfect for small folk on your Christmas list whom you wish to amaze with the beauty and diversity of their planet. I have really enjoyed the news diversity on this side of the pond--the complexity with which it is reported and discussed. It is a far cry from what we experience in the US. There is ample evidence that the young are at least exposed to the possibility that it may take work to figure out the world and one's place in it. Although I must say there was a very proper Brit behind me at PL this past week, repeatedly assuring her seat mate that Mr. Rickman's role in the play was 'entirely across type.' After the third such pronouncement, she was asked, what had she seen him in before? 'Film, mostly,' came the response, in perfectly plummery English.

I am off tonight to an American Embassy-sponsored 'gala benefit' at the Royal Court hosted by the cast of "Private Lives." They apparently plan to perform their show tonight whilst the RC attendees are seeing "Boy Gets Girl." I have yet to decide whether I'll be running back and forth across town. Georgiana (happily daughter Rachel, an NYC resident, has dodged another one...) London - Tuesday, November 13, 2001 at 05:40:34 (PST)

Missed last night's performance--at the Royal Court to see 'Boy Meets Girl,' a disturbing play by a Chicago playright that the RC is developing. Very interesting to see 'process,' in a sense.

Magda, I've watched Tim Sebastian interview for several years now--he is always trying to push people into making controversial statements, and I felt that was what he was doing with Mr. Rickman. If that's 'moving the interview along,' I'm not sure it's getting to where I'd like to see it arrive.

I did manage to leave flowers at the stage door for Ms. Duncan last Saturday. It was a bouquet of long-stemmed blood-red roses surrounded by eucalyptus and other greenery that I had had 'constructed' at a flower stand on Westbourne Grove just off Portobello Road on the way back from market last Saturday--two days late for her birthday. I nearly kept them--they smelled so lovely sitting in the sink in my hotel room. Hard to think one could improve on roses, but I think eucalyptus just may do it! I included a card wishing her belated birthday greetings from 'the Alan Rickman Guestbook.' Mr. Rickman sort of presented me to her with a nod last night as responsible party, and she was quite effusive in her thanks. So consider yourselves well turned out.

The suggestion from Mr. Rickman was that PL would arrive in NYC in April for a 10 week run--but this appears still quite tentative.

Georgiana
Whiteleys, London - Wednesday, November 14, 2001 at 0 3:22:40 (PST)

Thanks, Suzanne, for the photo of Mr. Rickman with Katrin Cartlidge. That was taken at the Royal Court Tuesday night after the Gala benefit performance. (I actually thought she has a fair ways to go...)

There have been a number of Daniel Radcliffe interviews shown on television here that I've managed to catch. Several have used Snape snippets to punctuate and edit the lad--quite lovely!

Yesterday a number of small placards went up in the tubes urging adults to read the book!

FROM THE ALBERY, STALLS ROW B:

Last night's PL was the most incredibly crisp performance--the leads reaching further than they have thus far. I think this was secondary to an audience that was positively asleep. I don't know if there was an excess of foreign tourists, or or repeat viewers--although, as to the latter, it took me nearly 10 performances to stop laughing at every line or sight gag. So the actors stretched further, and one line which I've never heard get a laugh did so last night--largely because they were working so hard. I am really going to miss this when I go home.

Georgiana Whiteleys, London - Thursday, November 15, 2001 at 02:54:09 (PST)

Lyn, by 'crisper,' I meant there was more contrast or 'punch' to the comic lines--like they were pausing a milisecond and delivering them in a more deliberative fashion. Caffeinated.

FROM THE ALBERY STALLS, HOPPING AROUND:

An enthusiastic audience last night. A pleasure to meet a couple more cyberdenizens from this site. And thanks to the hubbie of one who traded me seats after the first act. I have twice this week had gentlemen in neighboring seats who feel the need to punctuate their comprehension of every line (yes, every line!) with a grunt, which was the case last night. If the play is unknown to you, it is possible to ignore such annoyances. Since I can now about recite it, they bring thoughts of mayhem to mind.

SPOILER (and something off topic): RA, for your information, the little table employed at the end of the fight scene breaks frequently. We have had a couple of occasions--including last night, where the paraphenalia Amanda flings from the kitchen has taken out a wall light. If you look closely, there are streaks down that wall presumably due to the repetitive debris it has sustained. I've come to love how that ghastly rose-colored den looks so charming in the second act, and so tawdry in the third, just by repositioning pillows and throws and getting down to basics. It is a mark of what meticulous care, and fundamental understanding of the play's 'construction' (not just structure, but how parallel images illuminate that structure) went into the entire production. I have seen quite a number of other plays this trip (where Sunday/Monday night performances and matinees have allowed), and nothing has impressed quite so well, although 'Little Foxes' came close--they certainly 'hook' you there with the marvelous gauzy curtain invoking moss from the cypresses at the start. It was a joy to see Ned Beatty and Gemma Jones (S&S, Bridget Jones Diary) in 'Cat on a Hot Tin Roof,' although the rest of the cast (including Seattle-trained Brendan Frasier, who failed Steve's stage door poll) was somewhat lacking in what is a very difficult task, what with how familar the film version of this play is. I was surprised by how much more explicit the play is than the film--which I think tends to detract more than clarify.

Georgiana (here another 4 days) Whiteleys, London - Friday, November 16, 2001 at 05:33:07 (PST)

Gail, perhaps Brendan Frasier was 'off' due to poor attendance. It is a long a demanding play, and may be hard to muster enthusiasm to a half-empty house. I had no trouble with Gemma Jones' accent, and she was closest to the film portrayal of 'Big Mama,' which may be part of what I found appealing. Your resolution about English actors doing Southern accents would keep you away from 'Little Foxes,' which was clearly the best thing (apart from 'Private Lives') I've seen this trip.

The review comment about a luxurating Snape is from the Guardian review, which is in the middle of an entire magazine about the past and future of the British film industry--a very disheartening compilation, beginning with a quote from Emma Thompson stating they don't have one, and never had. As to the NY Times 'unfavorable' review, I certainly had to chuckle at: "Mr. Rickman, whose licorice-black pageboy has the bounce of a coiffure from a hair products ad, is a threatening schoolroom don who delivers his monologues with a hint of mint; his nostrils flare so athletically that he seems to be doing tantric yoga with his sinuses." Didn't you, Harlii? What in the world would a 'hint of mint' be like? And sinuses doing tantric yoga? Too funny!

FROM THE ALBERY STALLS, ROW B, SPOILERS AHEAD:

Yes, RA, the lamp hits the floor nightly. Sparks depend upon how hard it lands; some nights (as in the first I saw), it looks like the theatre is in danger of needing that fire safety curtain. I don't seem to remember the crawl across the piano from the first few times I saw this production, but it may have been due to worry about the fire hazard. If you look at it, that lamp on the piano is quite gerry-rigged from the start each night, and the lampshade is quite dented--to go along with the streaks down the wall.

SPOILERS CONTINUE: And, Susan, I am delighted to read your post. While there do not appear to have been major changes in the three weeks I've been going, there certainly has been steady improvement. It was quite wonderful to start, but the awkwardness in the first act--at least, the last few performances--has all but disappeared. (The crossed armed posturing of Elyot still bothers me some, although he seems to be doing it less. The problem is that, if he doesn't, he seems to fidget, which is equally distracting.) I know the line is 'mother was right; she said you have shifty eyes,' but those eyes were so shifty three weeks ago that you kept seeing Rickman the actor looking like he was trying to find someone in the audience. Similarly, the Sibyl kisses in the first act contained nearly full snears. They are still quite different from those he gives to Amanda, but not quite so broadly drawn as to constitute physical rejection. It is now totally believable that he would have fancied himself in love with Sibyl to the point of marriage. And the scene with Amanda at the end of that act seems more hoaned and crafted with each performance. It is often a long stretch of silence in the audience, until Elyot utters 'Escape?,' although last night's audience was so exuberant that they laughed at lines not generally held to be funny in the midst of all that. (It was better than the lady who trooped out during that scene the night before.) Lindsay Duncan continues amazing in coming up with tears every performance; Elyot has softened somewhat in that scene, although I do wish he would drop the pitch of his voice when he comes to the 'need, and want' speech--it would sound less like recessitation. But, overall, the first act now 'works.'

SPOILERS CONTINUE: The second act remains a true treat for Rickman fans. There is dancing (best appreciated from the Royal Circle), the incredibly tender facial features of the songs at the piano (best appreciated from the stage!), the physicality of the quarrel, and the lovely, emotionally labile passages on humor and death. This last is the part that, if he lets his voice crack just a bit (although some nights he appears aiming for Hamlet, which doesn't quite get there) has all the power of his best work ('The Preacher,' for example). I think it is probably these passages that he referred to as Chekov in Act Two.

SPOILERS CONTINUE: The Feydeau has always worked exceedingly well and I have seen nary a change in this part of the play--not in nuance or shading. (Ms. Duncan neglected last night to light a cigarette before the 'That was exceedingly rude' line--and I thought the line less funny because of it--whether from missing props or forgetfulness I couldn't tell.) There is some variability in how much of a tennis match is going on at the end. It is so amazing how Amanda and Elyot hold the attention of the audience--nearly to a member waiting to see how Rickman will react to the dialogue. This is nearly as in the first 8-10 minutes he is in AABA--world's conveyed with nary a word. Genius.

Would have liked to have said 'hello' to you, Anne! A pleasure lately meeting Linda, Jennifer, Magda. Georgiana (three more performances to go...) Whiteleys, London - Saturday, November 17, 2001 at 03:40:03 (PST)

SPOILERS ABOUND:

"Harry Potter": I got to Leicester Square yesterday early enough to transit the queue and purchase an aisle seat at the Odean for the 5:05 showing of HP (causing Claire some anxiety--would I make the matinee or not?) With the up-front stuff, I missed only the first 5 minutes of the film, and the last 5 minutes--rushing back to the Albery for the evening performance.

Unless all the charm of this film is in the first and last 5 minutes, I'm afraid I didn't find it. The magic to the books is the world of HP, I think--finding the plot weak and unmemorable. I haven't been able to track it in the snippets I've read with Zelda, or listened to Stephen Fry reading to her. There were flashes of this magic, but far too few and some of those were blunted by obvious distractions. For example, did they always serve the same food for dinner at Hogwarts? I know--perhaps they always served everything the tods would favor, but I couldn't help thinking, seeing those same half-ears of corn, that they filmed the two dining scenes which run at opposite ends of the film back to back with the same props.

The film is too long. And in serious need of editing. I would have preferred more loving moments on the environment of Hogwarts and less time in dark dungeons battling trolls and monsters--especially when their coloring seems to place them in an entirely different location. Both the troll and that three-headed 'Fluffy' seemed to be in tinted black and white in spite of it being a color film. But much of the second half looks largely b&w, it is so dark and dank.

The lead children are quite lovely. The adults I thought were fine, although Richard Harris appears to have tobacco juice stuck on his lips half the time. None of the characters, alas, are as crisply drawn as Snape, although Hagrids 'Shouldn't have told you that' refrain becomes quite endearing.

Rickman, again (RHPOT, DH) seems to be in the film they should have made, rather than the one they did. His run into the classroom is such an entirely classic Rickman move that I'm surprised it hasn't been flashed on TV screens across the UK--as classic as the Sheriff pounce around in his 'cancel Christmas' scene. His words drip like the mercury of the unicorn's blood slowly into the ears of his listeners and each of his (too few but worth the price of admission, even at the 10 pounds of the Leicester Square Odean) scenes seems lovingly crafted for the ages. There is wonderful attraction as the hand slowly comes out and just misses grasping Harry in his invisibility cloak. With all the effects, Voldemort holds less menace--and enticement--than does Snape, in broad daylight in the school room, wishing Harry well in his first quiddich match. I think the ambiguity of Snape's allegiances, which remain in question (true through the first four books), is the glue that holds adult interest in these tales and this was even more obvious in the film than in the books. 'Bravo' to Mr. Rickman. Wonderful work. Overall, I'm with Claire: would have rather seen a mini-series--or a more judiciously edited film. I plan to see it once more in its entirety at Whiteleys before heading home, then with Zelda in the US--to see what is changed in the US version, although I expect this will merely be a word or two here and there. After that, can't see watching more than the Snape scenes. I think any 'classic' nature to this film overall will come from the coat-tails of the books.

The Independent today had this to say about Mr. Rickman in HP: "...but the best turn is Alan Rickman muttering in a voice from the bottom of the inkwell--the perfect incarnation of the 'dark sarcasm of the classroom' that Pink Floyd once lamented."

FROM ROW B, STALLS, AT THE ALBERY:

Mr. Rickman seemed to be catching a cold during the matinee yesterday. Had a rather froggy voice during the first act which--true thespian--he managed to clear without a cough or audible 'ahem.' No sign of same at the evening performance. Had rather some garment difficulty yesterday (or itchy skin?)--lots of adjusting to the tuxedo shirt in Act 1 during the matinee, and loads of scratching of chest through the pajamas in Act 2 in the evening. Not sure what's going on there. Alex, the maid, seemed distracted--neglected that charming wiping of her hands on her apron after so carefully placing the morning coffee on 'la petite table' in the matinee, and left out the line, 'Oui, monsieur' in the evening. But all of this is mere quibble. There has been not a single performance of all that I have seen that has failed to be absolutely the best of what theater has to offer, and a delightful distraction (or obsession, as the case may be).

Here is the last quiz question on 'Private Lives' (and, yes, I do think there is a right answer!):

In 'Private Lives,' which would you rather be, and why?
a. a boa constrictor
b. a snarling panther
c. a ravening leopard

Georgiana (Seeing my last look at Private Lives this afternoon, alas.)
Whiteleys, London (with a mutterer next to me even here!) - Sunday, November 18, 2001 at 03:29:21 (PST)

FROM THE ALBERY, SEEING MY LAST PERFORMANCE FROM SEAT AA-21, STALLS
(SPOILERS FOLLOW):

It was the most exciting Act 1 ever I saw yesterday, the sort of theater that carries you into the stratosphere, and a lovely vantage from that particular seat, front row corner. Ms. Duncan and Mr. Rickman were appropriately applauded at the end of their balcony scene--which has happened only once or twice before. I was enraptured. At the crucial moments, no alienating crossed arms, both actors melted into the moment.

Alas, Act 2, was problematic, with Mr. Rickman changing several words, moving a phrase, and generally rather wandering about through the lovely Chekovian sequence (my favorite part of the play) that begins with 'What does it all mean,' and ends with 'as long as you love me best.' This latter became something like 'as long as you love me a bit' or '...a little' or some such alternative. I wonder if he was trying too hard. Elyot does carry the brunt of the play, and is also subject to more "changes of front" than any of the other characters, although Amanda has a few classics, such as "We'll suffer for this, I know we will." It must be extremely difficult. However, even with this troubled sequence, they never missed a '(beat)' and, unless you knew the play well, it would have had the appearance of smooth sailing.

The farcical part of this play plays out in pillows. The maid Louise and Elyot tumble and fall (respectively) onto big ones. The fight progresses with Amanda tossing a small one at Elyot, over which he cackles like a jackal before hitting her in the arm with it. Act 2 ends with Amanda tossing a middling one from the bedroom across the paths of the startled, ducking and just-arriving Victor and Sibyl and, yesterday, that one arrived at my feet. (I was tempted to snag a sourvenir but, ever decorous, refrained, and it was promptly fetched by an usher.) But, best of all is Amanda in Act 3, who goes 'round "straightening" by picking up pillows off couches, tugging their edges to razor sharpness, patting them smooth, on occasion complaining about the mess, then tossing them onto the floor, but for one she slams at her feet with "Slattern?!" Elyot gets to slide around the stage kicking them out of the way while we await Victor's hilarious "(beat)(beat)(beat)(beat) What?" This is all lovely, and very funny, physical orchestration.

"Private Lives" is a magnificant piece, meticulously constructed, lovingly decked out with all its brass polished, all its corners mitered, exquisitely performed with frank adoration--nightly at the Albery. I shall miss seeing it terribly. Mr. Rickman indicated last night there is a possibility of extension through to March 2. If so, I shall be trying mightily to get back for another few performances around my birthday at the end of January. I sincerely wish that those of you who have not had the opportunity may find your way clear to do so.

And, yes, ravening leopard, of course!

Georgiana (half packed, and flying home tomorrow, but for now off to one more showing of 'Harry Potter')
Whiteleys, London - Monday, November 19, 2001 at 03:30:14 (PST)

Continue reading Georgiana's Journal: She returned to London in January, 2002.