Showing posts with label DH Lawrence. Show all posts
Showing posts with label DH Lawrence. Show all posts

Saturday, 7 November 2020

Autumn Rain

Age shall not weary them
They shall grow not old, as we that are left grow old: 
Age shall not weary them, nor the years condemn. 
At the going down of the sun and in the morning 
We will remember them.
Since then Peter Jackson’s colourised film of footage from the First World War (with a convincing modern audio soundtrack) has astonished and moved audiences who have seen it. Watch They shall not grow old if you can and imagine…. Just imagine….
Working-class “Priest of Love”
This year my chosen tribute to the Armed Forces and their sacrifices comes from the pen of D H Lawrence, mostly known for novels like Sons and Lovers, The Rainbow, Women in Love and Lady Chatterley’s Lover, all very different masterpieces. He was also a master craftsman of the short story e.g. The Rocking Horse Winner and Odour of Chrysanthemums. Less well known are the essays and journalism he wrote before, during and after the “Great War” revealing his characteristic humanity and his sympathy for ordinary men and women who were damaged or destroyed by the failure of diplomacy. Lawrence also wrote hundreds of poems and one less well-known poem is an evocation of both Autumn and a metaphor for dying soldiers. The short lines and random rhymes are like raindrops pattering. “Heaven’s fields” reference the Greek land of the dead where fallen heroes live in Elysium. In the imagery of the poem, leaves are mini-deaths who mingle with the seeds and earth to be resurrected (“caught up aloft”) and rain becomes tears and rain “echoes even” in rhymes with “grain…. pain…. slain…. pain…. falling as rain….”
Autumn Rain
by DH Lawrence (published February 1917, written the previous Autumn)

The plane leaves
fall black and wet
on the lawn;

the cloud sheaves
in heaven’s fields set
droop and are drawn

in falling seeds of rain;
the seed of heaven
on my face

falling — I hear again
like echoes even
that softly pace

heaven’s muffled floor,
the winds that tread
out all the grain

of tears, the store
harvested
in the sheaves of pain

caught up aloft:
the sheaves of dead
men that are slain

now winnowed soft
on the floor of heaven;
manna invisible

of all the pain
here to us given;
finely divisible
falling as rain.


Saturday, 20 April 2019

Tolkien, Shakespeare, Others and You

Private audience with a theatrical knight
Legendary icon
It was hard to stop smiling in astonishment and wonder at the sight and sound of an almost-octogenarian’s tour de force one-man-show at the Belgrade Theatre, Coventry tonight. I attended with my long-time Shakespeare buddy, Michael Thompson, who’d badgered the box office for returns and who’d not only got the triumphant call – “yes, we have two seats for you” – but, it turns out in a miraculous alignment of the stars, that one of the seats was sponsored by Sir Ian McKellen so we were invited backstage afterwards to hear the legendary knight throw out some extra choice anecdotes and bestow his iconic glory in a private audience. I’d seen him in a backstage environment before with a group of students during the second run of Waiting for Godot in London (see picture below.) I saw him in that play with two casts, playing opposite both Yorkshireman, Patrick Stewart and the late, great, Roger Rees, as well as superb supporting actors – as witnessed below with Ronald Pickup and Matthew Kelly.
Saw this production twice with two casts but one McKellen....
Over 80 venues across GB
Sir Ian McKellen’s stamina, memory, bravura acting techniques and vocal command are, live in the theatre, marvellous to behold. This particular show started as a one-off review and then expanded into an 80th birthday celebration of a tour of upwards of 80 venues across Great Britain. The profits from each performance are donated to local charities that are either drama or education or community based. The audience become the second character as he drags people onstage, invites shout-outs of answers and the names of Shakespeare plays. But more importantly he controls the audience mood as adeptly as any mind-altering wizard. The gossipy anecdotes are hilarious, the moving tales of his childhood and political activism draw us into a circle of quiet intimacy and his geographical range of acting experiences take us around the globe from Bolton to Yorkshire to the North-East to Nottingham to London to Stratford-upon-Avon, up mountains in New Zealand and to the throne room of Buckingham Palace. Wondrous!
Explanation for this pic in paragraph below...
Tolkien, Shakespeare, T S Eliot, G M Hopkins and more
At the flick of an eyebrow he moved from a doddering, ancient Agatha Christie character to a gauche and youthful Romeo. He mugged mercilessly in pantomime mode as Widow Twankey and recalled the ignition of his passion for live acting when seeing a performance of Peter Pan. He gave us a preview of his forthcoming film performance as Gus, the Theatre Cat in T S Eliot’s and Andrew Lloyd Webber’s Cats (directed by Tom Hooper and adapted by Lee Hall) and dextrously delivered Gerard Manley Hopkins poetry in the finale to the first half. Just when it seemed impossible to admire him more, out poured forth from the depth of his soul one of his party pieces, the famous speech from Sir Thomas More (probably the only example of Shakespeare’s own handwriting which I’ve mentioned in an earlier blog – click here) – the speech which appeals to our shared humanity in how we should treat refugees. A memorable moment at each performance was his reading from Tolkien’s Lord of the Rings and the invitation onto stage of an audience member to wield Gandalf’s mighty sword, Glamdring. Above you can see my dear friend, Amy Lancelot (Creative Education Manager at Leeds Playhouse), receiving the polaroid outcome of just such an encounter at a later performance.
Some of Sir Ian McKellen's Film and TV roles
McKellen TV and Film performances that made an impact on me over the years
1970: Edward II in Edward II by Christopher Marlowe
1976: Macbeth in Macbeth by William Shakespeare
1981: DH Lawrence in Priest of Love by Harry T Moore adapted by Alan Plater
1982: Walter in Channel 4’s Walter by David Cook
1985: Sir Andrew Charleson in Plenty by David Hare
1989: John Profumo in Scandal by Michael Thomas
1995: Amos Starkadder in Cold Comfort Farm by Stella Gibbons adapted by     Malcolm Bradbury
1995: Richard III in Richard III by William Shakespeare
1998: James Whale in Gods and Monsters by Christopher Bram adapted by Bill   Condon
1998: Kurt Dussander in Apt Pupil by Stephen King adapted by Brandon Boyce
2000: Magneto (Eric Lensherr) in X-Men by Tom DeSanto & Bryan Singer (a role he   went on to play in X-Men 2, The Last Stand and Days of Future Past)
2001: Gandalf in Lord of the Rings: Fellowship of the Ring (a role he went on to   play in a further five films and numerous audio projects)
2006 “Sir Ian McKellen” in Extras, created by Ricky Gervais
2015: Sherlock Holmes in Mr Holmes by Arthur Conan Doyle, book by Mitch Cullin   adapted by Jeffrey Hatcher
2015: Norman in The Dresser (with Anthony Hopkins)

A fraction of Sir Ian McKellen's stage appearances
McKellen Stage performances I have seen
1979: Sir Toby Belch in Twelfth Night and Andrei in Chekhov’s Three Sisters on   tour at Dewsbury Town Hall (September)
1988: Acting Shakespeare at Wakefield Theatre Royal (22nd May)
1989: Iago in Shakespeare’s Othello at The Other Place in Stratford-upon-Avon
1997: Captain Hook in Peter Pan at the National Theatre in London
1998: Dr Dorn in Chekhov’s The Seagull at West Yorkshire Playhouse, Leeds
1998: Garry Essendine in Coward’s Present Laughter at West Yorkshire Playhouse,   Leeds
1998: Prospero in Shakespeare’s The Tempest at West Yorkshire Playhouse, Leeds
2007: King Lear in Trevor Nunn’s production of Shakespeare’s King Lear and Sorin   in Chekhov’s The Seagull at the Royal Shakespeare Theatre in Stratford-upon-Avon
2009: Estragon in Beckett’s Waiting for Godot at Theatre Royal, Haymarket in   London
2017: King Lear in Jonathan Munby’s production of Shakespeare’s King Lear (in a   CinemaLive broadcast)

Easter 2019: the Ian McKellen bonus....


Saturday, 19 November 2016

Like a scurvy politician

London
Recently returned from five days in London (which I’ll blog about soon) but the prime motivation for going at this time of year was to witness Glenda Jackson in Shakespeare’s King Lear at the Old Vic Theatre. I saw her last onstage in Peter Brook’s production of Antony and Cleopatra in Stratford-upon-Avon at the RSC in 1978 (aware that she was a double-Oscar winner for 1969’s Women in Love and 1973’s A Touch of Class. Since retiring from acting at the top of her game, she has been a member of the UK Parliament from 1992 to 2015 (23 years of honorably serving Hampstead and Highgate/Kilburn.) I am a fan of her film performances. As well as her Oscar-winning films and the TV series Elizabeth R, I thought she was equally brilliant in Hedda, Stevie, Triple Echo, Sunday Bloody Sunday, The Rainbow, The Music Lovers, Mary Queen of Scots {with Vanessa Redgrave} and The Patricia Neal Story.
Glenda Jackson from parliament to King Lear with Rhys Ifans as The Fool, Sargon Yelda as Kent and Morfydd Clark as Cordelia. Production photo credits: Manuel Harlan
Script as blueprint
Having seen King Lear with Sir Antony Sher recently, and blogged about it here, it was with some trepidation that I approached the play again so soon. I needn’t have worried – it was like a different play entirely, shorn of sentimentality, riven with intellectual decisions and riddled with disturbing and upsetting truths. Both productions were well worth seeing, in my view, though felt like entirely divergent works of art (as per Shakespeare’s genius and the way that any drama script is only a blueprint for theatrical interpretation.)
Lear: Glenda Jackson, Edmund: Simon Manyonda, Edgar: Harry Melling, Regan: Jane Horrocks, Cornwall: Danny Webb, Albany: William Chubb, Goneril: Celia Imrie, The Fool: Rhys Ifans, Ensemble/France: Matt Gavan, Gloucester: Karl Johnson. Production photo credits: Manuel Harlan

Like a scurvy politician
Any line in King Lear about power, ruling and politics had an extra resonance, given Glenda Jackson’s recent parliamentary career:
    Get thee glass eyes;    
And like a scurvy politician, seem    
To see the things thou dost not.
And the play’s devastating critique of the gap between rich and poor was fully potent in the mouths of actors like Glenda Jackson and Karl Johnson who played Gloucester:
So distribution should undo excess
And each man have enough.
Through tattered clothes great vices do appear;
Robes and furred gowns hide all. Plate sin with gold
And the strong lance of justice hurtless breaks:
Arm it in rags, a pigmy's straw does pierce it.
Harry Melling and Karl Johnson as Edgar and Gloucester; "I stumbled when I saw." Production photo credits: Manuel Harlan
The Greg Doran production probably moved me more than this one by Deborah Warner, but this production made me think more angrily about the issues in the play. There were some theatrical and design decisions that were unsettling (probably intentionally so) and some performance moments that challenged my ideas about the play but as an experience it remained compelling to watch, probably intensified by sitting on the front row! The rest of the company all had their moments of stage glory but the abiding memory is of the towering performance by Glenda Jackson. This was a father raging against the dying of the light; a man who was frustrated that he was not being afforded the luxuries he expected to receive in his retirement; a king who discovered, alas too late, that his wilful rule had led to the most abject poverty (literal and metaphorical) in his kingdom. Glenda’s voice soared, swooped, growled, howled and machine-gunned every Shakespearean image and still left room for the soft caress of lines like
We two alone will sing like birds in the cage.
When thou dost ask me blessing, I'll kneel down
And ask of thee forgiveness; so we'll live,
And pray, and sing, and tell old tales, and laugh
At gilded butterflies, and hear poor rogues
Talk of court news, and we'll talk with them too –
Who loses and who wins, who's in, who's out
And take upon us the mystery of things
As if we were God's spies….
Unforgettable.
Rhys Ifans as The Fool and Glenda Jackson as Lear. Production photo credits: Manuel Harl