A Shared Experience with Mary Shelley

Shared Experience theatre company are back at the West Yorkshire Playhouse this month with their latest production ‘Mary Shelley‘. It’s a dramatic and powerful account of the late teenage years of Mary Godwin, later Shelley, and her very unconventional family and lifestyle during the years 1813-1816. Mary Shelley wrote and had published her famous novel ‘Frankenstein’ before she was 20. She married the poet Percy Bysshe Shelley. Her father was William Godwin a well-known political philosopher and novelist and author of  ’Political Justice’, published in 1793. Her mother was Mary Wollstonecroft author of  ’A Vindication of the Rights of Woman’ whose suicide is depicted at the beginning of the play.

Mary had two sisters Fanny and Jane. Jane Clairmont later changed her name to Clare Clairmont and was the mother of one of Lord Byron’s children, Clara Allegra. Read more about Mary here and here :

The play goes a long way in explaining the relationships between the members of this unconventional family and P. B. Shelley; those are  ’crazy mixed-up kids’. With only 6 actors and a versatile set consisting of a very large dining table which also doubles as a tombstone and a quay and a desk and even a bedroom plus several tall bookcases crammed with books and papers and boxes the words flow quickly and the tension mounts throughout.

I think that I have been far too influenced by the over-hype connected with all the Frankenstein-related films and books which, although I have never seen nor read any of them, have totally put me off reading the original book. A colleague highly recommends reading it and suggests that I put ‘Frankenstein, a modern Prometheus’  forward as a suggestion at my next book group meeting. And do you know? After seeing ‘Mary Shelley’ I think I probably will!

Not The Last of the Duchess

My interest in the Windsors dates back to earlier this year when I stayed at their weekend retreat near Paris, now handily converted for self-catering holidays by the Landmark Trust. Back in the spring I read this book and the biography by Michael Bloch “The Duchess of Windsor”, and the one by Hugo Vickers “Behind Closed Doors: the Tragic, Untold Story of the Duchess of Windsor” and then most recently Anne Sebba’s new biography “That Woman”. The authors of each book, it seemed to me, had an agenda and I still feel I am nowhere nearer knowing what the Duke and Duchess of Windsor were really like. Of course we can never ever know for sure!

Reading the last sentences I realise that all my reading has concentrated on Wallis and not so much on Edward. I need to address that. I’m currently reading James Pope-Hennessy’s life of Queen Mary which will go a little way to adjust the balance. I think perhaps the library can help too!

Last evening the Duchess was the main subject of the play I went to see at the Hampstead Theatre. This was a performance of the world premiere of “The Last of the Duchess” adapted by Nicholas Wright but based closely on Blackwood’s book.

I booked tickets when I came upon a link to it by chance via Google. At the time I was searching for more information about Lady Caroline Blackwood, the author of the book I had just read, back in May or June this year. At the time there was no inkling as to the cast but I knew that I wanted to see it. And anyway the theatre is just steps away from my elder son’s flat.

The casting was inspired. Sheila Hancock played, as if she were a Frenchwoman herself, the role of Maitre Blum, the Duchess’s Parisian lawyer. Her accent, her French, her dress and demeanor all had that je ne sais quoi of Parisian style that is so hard for Englishwomen to replicate. Of course, that meant that Caroline Blackwood , played so wonderfully by Anna Chancellor, would be the antithesis of the smart, immaculate, maybe teetotal, Blum. There were touches of humour throughout but the major protagonist of act two was Lady Diana Mosley who was played magnificently by Angela Thorne (great buddy of Penelope Keith in TV’s To The Manor Born). Mosley was a Mitford sister and close friend of the Duchess. At this period in her life she was profoundly deaf and forbidden by butler Georges, on instructions from Blum, to see her dear friend.

http://www.dailymail.co.uk/femail/article-1367933/Wallis-Simpson-Robbed-abused-Duchess-Windsors-days.html

Photo from Daily Mail (http://www.dailymail.co.uk/femail/article-1367933/Wallis-Simpson-Robbed-abused-Duchess-Windsors-days.html)

The setting is the house in the Bois de Boulogne leased to the Duke and Duchess by the City of Paris. The Duke has died some time before and the Duchess appears briefly at the beginning of the first act, in a kind of dream of Blackwood’s. That is the Last we see of her. From then on she is upstairs helpless in her bed as the arguments and contretemps continue below. Lady Caroline, thrice married  journalist, has come to Paris to interview the Duchess but Blum will have none of it. There’s a suggestion that Lord Snowdon has been appointed to take her photograph. This Blum forbids but somehow as a kind of bribe she manages to arrange her own photo shoot with Snowdon. This takes place offstage during the second act. In the final act Blum coolly responds to every accusation of Blackwood’s as she herself becomes more and more intoxicated. I came away from the play with the same feeling of uncertainty as after reading the book. Was Blum a consummate liar and villain or was she, in some strange way honestly  protecting the Duchess from exploitation?

http://www.telegraph.co.uk/culture/theatre/theatre-reviews/8851278/The-Last-of-the-Duchess-Hampstead-Theatre-review.html

As it turns out, in the end, it is almost the last of Lady Blackwood. She died only months after the publication of her book whereas the Duchess of Windsor was to live for a further 12 years.

Every Inch a King

What’s this? Me thinking I’m a theatre critic?  How dare I? Well, of course, this isn’t really a critical review merely a comment on my feelings after seeing ‘King Lear’ at the West Yorkshire Playhouse last evening.

KING LEAR

23 September 2011  to 22 October 2011


QUARRY THEATRE

King Lear abdicates the British throne, to divide his kingdom among his three daughters in proportion to their professed love of him. When Cordelia, his youngest and favourite daughter, refuses to flatter her father; she is disinherited and banished. 

King Lear, with its intense exploration of kinship, loyalty, old-age and madness is widely held as the greatest of Shakespeare’s tragedies; to some, it is the greatest play ever written.

 Award-winning stage, film and television actor Tim Pigott-Smith will perform the title role, directed by West Yorkshire Playhouse Artistic Director Ian Brown.

Picture and Resumé from The West Yorkshire Playhouse website.

Over 25 years ago (is it really that long?) a dear friend, Mrs Wright, Snr., asked if I’d like to join her and subscribe to a season of plays at The Leeds Playhouse (as it was then). Of course, I did, and we have never looked back! Through the births of our children and various other upheavals we’ve stuck with our commitment and missed very few plays. In 1990 the old Leeds Playhouse was replaced by the West Yorkshire Playhouse and the ticketing became more complicated but we just stuck with our original plan and booked the longer running plays.

Yesterday evening we attended the last but one evening performances of King Lear. I don’t know whether this play will move to other theatres or even to The West End but it was a magnificent production and if you get the chance and enjoy Shakespeare – go see it! Tim Pigott-Smith (of ‘The Jewel in the Crown’ fame) stars in the title role. The final performance at Leeds is halfway through as I type.

The play opens strongly in reds and blacks and greys and there is no doubt who is in power and what form that power takes – it is King Lear and the power is absolute! Fast forward towards the end of the play and we see a desolate, senile and bereft Lear cradling his dead daughter Cordelia and we feel as exhausted, as surely the actors must do, with tragedy of it all.

Cordelia is played by Olivia Morgan. It’s her very first professional stage debut. How good is that?! To me it showed but was all the better for the ‘naivety’ – is that the right word? I think I read somewhere that Cordelia has just 120 lines but she’s pivotal to the play.

Photo : James Garnon [Mercutio] in the Globe’s 2004 Romeo and Juliet ( globe-education.org )

All evening I couldn’t get out of my mind of whom James Garnon (Edmund) reminded me. I checked the programme when I got home, found that he performed in Howard Brenton’s ‘Anne Boleyn’ at Shakespeare’s Globe which I saw in the summer and realised straightaway that he was James I. He is definitely one to watch.