Designing Emil and the Detectives
Bunny Christie talks about her approach in designing Carl Miller’s adaptation of Emil and the Detectives, collaborating with the Lighting Designer and Animation & Projection Designer to bring a world full of adventure to life on the Olivier Theatre stage.
Photo Noir: The Art of Cornel Lucas is an exhibition of work by the only stills photographer to be awarded a BAFTA for his service to the British Film Industry.
Cornel Lucas (1920 – 2012) began his career as a stills and portrait photographer working for British Film Studios during the 1940s and 1950s. He soon became the UK’s leading movie star photographer, capturing the great and the good of both the UK and US film industries during the golden age of cinema, including Marlene Dietrich, Brigitte Bardot, Diana Dors, Joan Collins and David Niven. In 1998 Lucas became the first stills photographer to be awarded a BAFTA for his services to the British film industry.
The exhibition of his work on on display in the National Theatre’s Lyttelton exhibition space until 29 March.
Hadst not been born than not to have pleased me better.
King Lear, directed by Sam Mendes with Simon Russell Beale in the title role, broadcasts live to cinemas worldwide on 1 May via NT Live.
I was asked recently what effect A Taste of Honey had had on my life. All I could remember were a handful of idiot teachers who said things like: ‘I bet you want to be a writer when you grow up, don’t you?’ and ‘Do you want to be famous, like your mum?’ Then there were the others who insisted on asking me to wax lyrical about the symbolism of a bare light bulb in a squalid flat. Of course there is no symbolism; it’s exactly the right thing in the right place. Had it been an exquisite Tiffany lamp – well that would be a different matter. My mum rarely talked about Honey except to tell me she’d refused yet another request to mount a production of it in the Capital. Most of the articles I have read have concentrated on that iconic moment in her life and why it was never repeated. The fact that she continued to work, to write, her whole life, is apparently dwarfed by a lack of ‘fame’ which is, as we know, the currency used to measure a person’s talent these days.
When she was made an honorary member of the Mark Twain society in 1977, she felt immensely proud; when the many radio plays she wrote in the latter years of her life were produced, she was immensely proud; when Dance With a Stranger was critically acclaimed, she was immensely proud; when she held any of her three grandchildren in her arms, she was immensely proud and, when Alicia and I set up Reel Rebels Radio, she was immensely proud.
Avis Bunnage (Helen), Murray Melvin (Geoff), Frances Cuka (Jo) and John Bay (Peter) in the 1958 production at Theatre Royal Stratford East.
My mum enjoyed much of the success Honey brought to her door: it gave her the freedom to explore the world, with me in tow usually; the money was nice and she was always generous with it and she met many of her heroes: Stirling Moss; Studs Terkel; Karen Blixen; Paul Newman; Katharine Hepburn – the list goes on and on. However, she did not want to be tied down to an idea of who she was ‘then’ and I think any of the people who continued to have a friendship with her after this brief moment in time, would agree. In this short film by Ken Russell it’s plain to see that even as a young woman, she had far more on her mind than ‘how to be famous’.
My mum was able, better than anybody else I’ve ever met, to live in the present moment and although she was proud of Honey’s success and happy to leave behind a body of work that included it, she was no Miss Havisham, lost in the past and longing for its return. One of the main reasons she never allowed a big production of Honey to be done in London in her lifetime was because she couldn’t bear the thought of those relentless and predictable questions – and those relentless quotes from people who had been there but who had little to say about her in the here and now.
'When I’m dead you can take care of A Taste of Honey,’ she said. ‘And send that Morrissey chap something from me.’
Done and done.
Contrary to popular belief, it was watching a production of Waiting for Godot whilst working as an usherette, that gave her the push she needed to lock herself away with a borrowed typewriter and write A Taste of Honey – Godot showed her that there were other voices that absolutely needed to be written and to be heard. That the theatre, like a good fairground, should have something for everyone. Time was of the essence, her father was dying and she wanted it finished before he was. Fortunately that particular deadline was met.
Frances Cuka (Jo) and Murray Melvin (Geoffrey) in the 1958 production.
So, finally Honey is about to enjoy its first big London outing in 50 years and as a result I’ve been talking and thinking about it a lot of late. The only performance of it I had seen was Peter Zadek’s production in Hamburg. He had used the first and original script, which would have been fine if he hadn’t got carried with the music which made it too long. Having agreed to the National’s request to stage it, with Bijan Sheibani directing, I thought it best if I read it again; up until that point it was something I’d talked about with my mum, but not given a whole lot of thought. It was a good job because one of the cast members asked me:
'What do you think A Taste of Honey is really about?’
Here is my honest reply to that question.
Happy Valentine’s Day!
Penelope Wilton and Nicholas Le Prevost in Alan Ayckbourn’s Bedroom Farce during 50 Years on Stage.
This is the first in a series of Platform events for King Lear, where Kate Fleetwood (Goneril), Anna Maxwell Martin (Regan) and Olivia Vinall (Cordelia) talk to Fiona Mountford about the play, being directed by Sam Mendes and performing in the Olivier theatre.
This is a recording of a live Platform event from January 2014.
What is verbatim theatre?
Leading theatre practitioners reflect on this type of theatre-making, discussing the strength of verbatim and how they approach using it to create a play.
Featured in this film: Alecky Blythe (London Road), Nadia Fall (Home), David Hare (Stuff Happens) and Nicolas Kent (The Colour of Justice)
★★★★★ Evening Standard, Metro, Daily Express
★★★★ Daily Telegraph, Guardian, Independent, The Times, Time Out, Observer
‘Never ceases to astonish. Simon Russell Beale is at his best.’ Evening Standard
‘Sam Mendes and Simon Russell Beale deliver an unforgettable collaboration; prepare to have your heart broken.’ Metro
‘Riveting. Simon Russell Beale is extraordinary’ Daily Express
‘The cast is beyond superlative. A literally awe-inspiring production.’ Time Out
‘Simon Russell Beale proves once again why he is one of our great actors.’ The Times
‘Sam Mendes and Simon Russell Beale’s production is worth the wait.’ Independent
‘Simon Russell Beale is magnetic. An exceptional production.’ Guardian
‘Genuinely gripping. Simon Russell Beale movingly captures Lear’s terrified intimations of madness.’ Daily Telegraph