
Anecdotes
London
Annie and I spent a lot of time in London over the years, digging around all the nooks and crannies we could find. I don’t believe that we ever went there that we didn’t find something new about the city. I had spent two summers almost exclusively in the city and had taken the opportunity to go to as many plays as I could afford, which was really quite a few since you could get standing only tickets at the back for as little as a few shillings. I preferred better seats, of course, but I took what I could afford. One play I particularly remember from that period was Peter Schaffer’s play, The Royal Hunt of the Sun. I didn’t see the original performance at the Old Vic; I saw it at the Queen’s Theater in 1965 or 1966. It was a marvelous performance, with many actors I got to recognize over the years, like Anthony Hopkins, Derek Jacobi and Colin Blakely as Pizarro. The music for the play was marvelous, as I remember, and the scene where the king of the Incas, Atahualpa, died and his followers expected him to come back to life. I have never seen the play again but have expressed to Annie how much I would have liked her to see it.
The very first play I ever took Annie to in London was at the Old Vic in 1968. We went to see Peter Brook’s version of Oedipus Rex, a play I have since seen described as “notorious” because of its startling conception of the play. It starred John Gielgud as Oedipus and Irene Worth as Jocasta and was especially notable because of the chorus being tied to the pillars of the theatre, Guilgud being given sunglasses when his eyes were gouged out, Jocasta committing suicide by impaling herself on a spike, and last of all, a huge yellow phallus being wheeled onto the stage with a band playing “Yes, we have no Bananas.” After the performance was over we had a lot of merriment over it.
We went on to see many plays over the years, but non were as strange as that Oedipus. I know that I had seen 25 or so plays the two years I had lived in London over the summer, but over the years we went to hundreds of productions, some of which we can still remember very well. We saw Olivier in Othello, with Maggie Smith as Desdamona, a majority of Shakespeare’s plays, including Trevor Nunn’s 1977 production of Comedy of Errors at the Aldwych which was notable in that Duke Solinus was portrayed as a banana republic distator (Pinochet?). It had Mike Gwilym as Antipholus of Ephesus and Judy Dench as Adriana. I remember it as a high energy performance. We also saw Anthony and Cleopatra, again at the Aldwych, starring Richard Johnson as Anthony and Janet Suzman as Cleopatra as well as Patrick Stewart as Enobarbus, and Julius Caesar at Stratford, where we sat in the first row and it looked as though Caesar’s Legions were going to walk right over the audience in the opening, even the woman behind me who somehow managed to snore through the start and most of the play.
On another occasion when we were in Stratford on Avon we went to see a play at the Swan Theatre. I on’t remember the name of the play, but it was something like a Restortion comedy, with lots of wigs and elaborate costumes. We got about half way through the performance when the lights went out, leaving us all in the dark. Everything came to a standstill, of course, and after a little time someone produced a couple of flashlights. The actors made a few comments and the director decided to get out the candles and see the rest of the play by candlelight. Shortly the candles had been lit and the actors took off from where they had been when the lights went out. We were impressed that they could so easily slip out of character and then back into it with so little effort.
The play went on five or ten minutes and then another problem occurred: one of the actresses backed into a person holding a candle and her wig caught on fire! The audience reacted and let the actors know immediately, even though they realized it about the same time. So the play stopped for a second time. It was decided it was too dangerous to proceed with candles. While the company were trying to decide what to do the lights came back on. We all breathed a sigh of relief and the actors resumed their persona and the play continued.
By this time the play was running nearly a half hour late, which wasn’t a real problem with the audience of the actors, except that there was a small boy in the play. It was explained that due to the child labor laws he could not be kept up past ten o’clock. The audience were then asked if they would mind if the little boy came out and said his line. Everyone agreed, so out came the small boy, who was playing the part of a servant, and said his line. He received a loud ovation. It was obvious he was quite pleased and he could then go home to bed. After, when we got to the part of the play he was supposed to be in, one of the actors told us, “this is the spot where the little boy was to say his line.”
We left the theatre that night believing we had seen something really extraordinary. It seemed thus to me, at least, but then I frequently have bouts of brain fade during which I find it impossible to name a spoon or fork or what food I am eating. That they could slip into and out of the play impressed me quite a bit. But then, I suppose it was not anything particularly remarkable or heroic, since that was the kind of thing actors and actresses were well trained to do. Just the same, it made for an unusual night at the theatre.
We had many a wonderful experience at the theatre. I often wonder about people who never go to plays, or limit themselves to musicals only, though I have seen some wonderful musicals, too. When we were in London I think we went to just about every theatre that was open during our stay. Back here in the US we still go regularly to Chicago, a good theatre town, Stratford Ontario, Niagara on the Lake, The American Players Theatre, to plays in Sarasota, Florida and in Philadelphia. We have even gone to the theatre as far away as Sydney and Melborne, Australia.