Eugene Doyen’s profile
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- Joined 9th July 2018.
- Last logged in on 9th July 2018.
Last five observations
- To Royal Court Theatre production of Inadmissable Evidence, by John Osborne, dates unknown: “I saw the 1978 revival of the play at the Royal Court Theatre. Nicol Williamson played the lead role in what is nearly a solo performance play and it was directed by John Osborne. Nicol Williamson who had to hold the stage alone for long periods showed what great voice acting really is and how great the talking play is as opposed to performance plays. To show off his talents Nicol William ate a banana on stage: with the risk of choking or gurgling his lines. I have always loved the talking play since then and have little interest in theatrical spectacle. There is no reason why the play would work as film. Its a soliloquy, so not mimetic realist drama. What remains of interest is that line of self-pity presented by John Osborne as current and as a model of failed masculinity, or a masculinity that has lost its purpose. There would seem to be no sympathy for such a person as Bill Maitland now and perhaps there wasn‘t at the time. My favorite line in the play is when Bill dismisses someone’s life style as ’Sunday Times primitive’ and there’s still an obsession with buying into natural culture as seen in the Sunday Times and many many life style magazines and TV programmes. Bill would seem to fail because he can’t take pleasure in what others take pleasure in and he can’t satisfy himself. I don’t really get the title of the play, but perhaps Bill is trying himself. He is a solicitor in the play, so the title also reflects that. The play can be enjoyed for the performance or rejected as a bad play that spends too much time with a miserable and failed man. The performance it what carried the play for me. ”
- To production of The Hothouse, by Harold Pinter, Ambassadors Theatre, London, 1979 - 1980: “During a performance of The Hothouse I noticed Pinter in a box, watching the play, and wondered if he would do this for every performance. It seemed unlikely that the play would need such close nursing. He appeared to be alone. Leaving the theatre I saw him with Lauren Bacall. They were chatting happily and later he directed her in Sweet Bird of Youth. I saw the play and it was staged with Bacall lying in bed for the much of the first act. The foot of the bed was downstage, so I had a good view of what I thought must be Lauren Bacall’s very large feet. She also seemed too strong and healthy in the role. However, the life of the theatre or theatrical life must be a joy when you get to direct Bacall. ”
- To Nottingham Playhouse production of Vieux Carre, by Tennessee Williams, Piccadilly Theatre, London, July 1978 - 1979: “Being a teenager who had read all of Tennessee’s plays and seen the films made from them I wanted to see Vieux Carre in London. Wondering if Tennessee was in town and might want to have a chat I rang up the theatre only to be told be someone in angry distress that Tennessee was missing, probably drunk and he was absent to attend a recording for Desert Island Discs. Oh dear! ”
Last ten changes
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