Part 13 Othello
- 2004: Swan Theatre, Stratford-Upon-Avon; Japan Tour; Trafalgar Studios, London
"Tony and I had been thinking about Othello for years". I marveled at the introduction to this play, going back to 1988 and subsequent productions. The old technique of using a white actor in black make up that is now distinctly not on. (Although I guess completely normal in Shakespeare's time). Particularly interesting was that ten years ago Artistic Director Terry Hands has persuaded Willard White to play Othello with Ian McKellen as Iago. The last production at The Other Place.
The search for a new Othello goes on. The are off to America and The Lincoln Centre. "I still have the typed list with scribbled notes of potential Othellos that the Lincoln Centre and their casting director Daniel Swee had drawn up. It included Morgan Freeman, Samuel Jackson, Mahershala Ali and Denzel Washington". This was twenty odd years ago.
Lots of stop starts until a trip to South Africa where they met Sello Maake Ka-Ncube, and later watching him in London, they had found their Othello. But funding became a problem with then Artistic Director Michael Boyd.
A diversion here with the five Jacobean plays that were funded by impresarios Thelma Holt and Bill Kenwright. The first time five unknown Jacobean plays were staged in the West End in the Gielgud Theatre. These were so successful that an extended run ended with an Olivier Award. (Doran adds another note about Thelma taking The Taming of the Shrew and The Tamer Tamed (see previous post) to the Queens Theatre and Judi Denche's Alls Well That Ends Well to the Gielgud.) These background stories go on and on but they are truly fascinating.
Back to Othello and funding being secured from Hori Pro that would include a tour of Japan. Greg and Tony have long discussions about who is Iago. In the middle of which Greg wonders "how do you keep a sense of spontaneity". His views on this are something else. Back to Iago and they ask "what is his problem?".
Amanda Harris is brought in to play Emilie, Iago's wife. Well into rehearsals, the actors work out their relationships with one another. Quotations from the text are are coupled with detailed explanations. Greg talks about bringing in Lisa Dillon to play Desdemona and describes what she brought to the production. The play opened to mainly positive reviews. Amanda was "acclaimed by several critics" and she won an Olivier award for best supporting actress. Sello and Tony also were praised, although the latter was uncomfortable through the whole run, suffering from stage fright.
26th February 2009 - The Oxford Playhouse. See post 27th February 2009.
Part 14 Venus and Odonis
-2004: A co-production with The Little Angel Theatre; The Other Place
-2006: Revived in the Complete Works Festival
-2017: Revived as part of the Rome Season - Filmed by the V&A
I wondered whether to include this chapter, but it was quite interesting. It starts in the summer of 1999 and they are putting on an entertainment at a gathering at Highgrove for Prince Charles. The selection of a Shakespeare poem goes down a treat. Artistic Director Adrian Noble was so impressed that he wondered if the half hour could be extended to a full length play. Then on a trip to Japan in March 2000 to see the Bunraku Puppet Theatre, Greg wonders if this might be a key to performing the above. Fast forward to November 2002 and Greg is visiting Little Angel, the home of puppetry in the UK. Then a long part about their discussions about putting on the play that leads to it's staging in 2004 at Little Angel followed by a short run at Stratford's The Other Place. It gained great reviews.
Part 15 A Midsummer Night's Dream
- 2005: Royal Shakespeare Theatre, Stratford-Upon-Avon; Novello Theatre, London
-2008: Revived at The Courtyard Theatre, Stratford-Upon-Avon
Apparently this is Greg Doran's favourite play. His introduction to this chapter talks about how it was his father who introduced him to Shakespeare. (Ditto). Along with a box of Beethoven symphonies, he came home with Mendelson's music to A Midsummer Night's Dream. Greg was instantly hooked: "those first four evocative chords". But also this recording included extracts from the play. "It contains some of the most beautiful poetry in the English language". Greg explains (obviously in some great detail) the four worlds in the play: The Court, The Lovers, The Rude Mechanicals and The Fairies.
Greg continues that "it's one of the finest comedies ever written" and "a deep dive into the nature of love". He quotes "one of my favourite lines in the play" ... "And sleep, that sometimes shuts up sorrow's eye". The Rude Mechanicals are always a source of hilarity. He especially liked how Bottom was always seeking to enlarge his part in their performance. There are then three pages about the scene with Pyramus and Thisbe - the play within the play. Greg was glad that the reviews were so good when the play opened. He ends with a note that he and Tony became civil partners in a ceremony at Islington Town Hall.
12th September 2014 The Globe Theatre production at Aylesbury Waterside
I can also vaguely remember seeing it in London when I was a child, possibly as a Christmas treat from the great aunts.
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