Books: Tynan on Theatre: Part II

Tynan on Shakespeare:

            A lot of the plays mentioned, were actually the ones I haven’t quite ticked off my ‘to-read’ list. They were all Shakespeare, of course, and all performed between 1951 and 1959.

            This is a very short section, with two Hamlets, two Othello’s, two king Lears, a number of History and some Titus and McB thrown in for good measure. What I found most interesting in this section, because they plays are unchanging, though cuts may differ from one production to another, these reviews were so much more focused on the acting, direction and sets than the work discussed in “British Theatre”. I actually learned a lot about the characters in this section, and how an actor can influence a character.

            Nuggets of Knowledge Learned:

-       Lady McB is too masculine a role to be played by many women – some may be able to get away with it, though

-       In the 1950’s, it was ok for white men like Richard Burton and John Neville to play Othello

-       It isn’t necessarily a bad thing to focus more on the character and their wants and needs than the poetry in the writing

-       Sir Lawrence Olivier will succeed where all others will fall short. End of Story. Every time.

This was one section that I think I liked almost best out of the entire collection, it raed quickly and I got more excited and intrigued with each review. There were many actors and director listed in this section that, learning about theatre, we were told of often and heard their names spoken with special reverence. Sir Lawrence Olivier, whom most theatre students know of, mostly know of him as someone admired for his greatness, and his black&white film of Hamlet. In these reviews, we read about his portrayal of MacB. It is a difficult character to be sure, I only know of a few who have attempted it and won acclaim rather than mockery. Patrick Stewart for instance, who I might venture to say, has come into equal standing in dramatic ability as the last Sir Lawrence Olivier.

We also see the names: Michael Redgrave, Sam Wanamaker, John Gielgud, Paul Scofield and Vivien Leigh (yes, from Gone With the Wind). Michael Redgrave: a famous name to be sure, according to Tynan, the best King Lear seen on an English stage in a long time. Sam Wanamaker: the man behind today’s Globe Theatre (more on this later). John Gielgud, famous for his performance in Shakespeare when he was young, famous for his direction of Shakespeare as he aged, directed Michael Redgrave in Hamlet in Stratford-upon-Avon. Paul Scofield, the only man well-equiped to play Hamlet in the 1950’s while Tynan was writing this. And Vivien…well, maybe she had better stick to her American Southern Belles and leave Lady McB to the men…

Now, my little issue with Sam Wanamaker being mentioned here is that it forces me to question my professors in London and the stories of the Globe’s creation as it was recounted to me. I was lead to believe that Sam Wanamaker was an American actor (which was true) who hadn’t been to London until the 1990’s. I was told that he arrived in London, got into a cab and asked to be taken to a Globe Theatre, but instead was taken to the plaque outside of the original location. I was told that, upon seeing this plaque, he was horrified and started out on his mission to recreate Shakespeare’s Globe in London… But if this book is correct, which I very much believe that it is, how could Mr. Wanamaker not have known that the English did not have a Globe Theatre in London? I don’t necessarily doubt the whole validity of the story, but rather the timeline that was recounted to me.

Other than being confused about timelines, and feeling shame for knowing more about these plays (hence why I have Othello and many other plays that have been filmed in my Netflix queue), this was a great mini-section. If you are an actor, this is worth reading for the advice, if you’re a future reviewer, it’s worth reading for the reference and general great knowledge one will find in a Tynan review. 

One thing I will say that this section taught me, in England, and in almost any theatre community, one is likely to see more Hamlets, Lear’s and Othello to last a lifetime. A critic must be able to watch these plays with a fresh eye each time, comparing and contrasting performances is not bad, but we must allow the actors to fly or fall without our own views or exhaustion of an over-performed play causing any further damage. Tynan does this splendidly, he comes to a play informed and knowledgeable, but focused with a fresh eye for detail. 

Books: Tynan on Theatre: Part I

Tynan on British Theatre:

            Perhaps because it was written in the 1950’s, or because it was taking me awhile to really dealve into the genius of this book, but I found I did not enjoy his first two reviews. I can say with some certainty, though, that this was because I was not familiar at all with the plays discussed. I did find that when he mentioned actors, directors and playwrights that I was familiar with, I was able to appreciate what was being said much more. However, by the third review, I was feeling familiar with his writing style and drawn in by his perceptive and prophetic musings.

            There are many fine plays that are reviewed within this volume, but there were a few in particular that I wanted to focus on. Or rather, a few particular reviews of plays that I wanted to focus on.

            A title that almost every young aspiring drama student learns about, or hears about before the age of 18 would be Waiting for Godot by Samuel Beckett. This play has become such a staple, deemed a ‘classic’ and ‘essential’ text within contemporary theatre, that I believe we sometimes forget that at one point in time, it was brand new. I remember learning about this play in my “Modern Dramatic Impulse” class, as a sophomore, I read it, had heard about it, and while I had didn’t necessarily love it at the time, I respected it as a ‘classic’.

What I love about reading Tynan’s review of an early production of this play is the lack of any stigma or glorification that can surround the piece today. He touches on its success in Europe, gives it credit where it is due and speaks about the play honestly for what it is: absurdist drama. Such memorable quotes that come to mind are:

“Pity the critic who seeks a chink in its armor, for it is all chink. It has no plot, no climax, no dénouement; no beginning, no middle, and no end.”

And that sentence is just an observation, he is telling his readers about the play, we haven’t come to the real critique yet. I could speak about his thoughts, but I’d rather talk about his conclusion about the play, “It is validly new...” and with this, he teaches us the importance of an open mind in art.

Many other great works are spoken of, some titles in particular that you may recognize would be: Look Back in Anger, The Entertainer and Eng-Game. There are many others that should be known, and after reading this, I intend to become familiar with. I don’t want to bore anyone with speaking too much about the actual reviews, and more about the compilation.

            While his reviews of specific productions are enlightening, he also writes about movements in drama that he is noticing. My particular favorite within this section was “The Angry Young Movement,” in which he speaks of England’s particularly upset young playwrights. He speaks of playwrights of the time, such as John Osbourn (Look Back in Anger), and writers like Colin Wilson with his “apocalyptic best-seller about the necessity of being and “outsider.’” It’s an essay focusing on these young men; these wannabe socialists who, while exploding with talent, lack true direction and just seems filled with this anger that, without some focus and backing, will never enact actual change, if change is what they seek.

Personally, when I read this I was reminded of a play entitled Saved, written in 1965 by Edward Bond. A play I actually witnessed in England, while I was studying abroad. At the time, in October 2011, it was actually considered to be quite a monumental occasion, for the play had not been performed in the country for over 20 years. If you have read the play, you might not actually find yourself objecting to that hiatus. The play focuses on the poor, and their horrible, filthy lives that never change because life is an endless cycle, in which nothing changes and the poor stay poor, and the rich remain rich.

            Other than contemporary classics in their beginnings, and writing on social trends in theatre, I actually found more joy in how Tynan wrote rather than his subject matter. Oh the man is a genius, and everything he says is filled with infinite knowledge. But you can find just as much entertainment and joy in his wit, than even perhaps the subject matter. I found myself laughing, even when I wasn’t entirely familiar with the play or playwright because Tynan has such a great way of entertaining while analyzing and critiquing.

           Next time we shall expound upon Tynan on Shakespeare. 

Books: Tynan on Theatre, Introduction

Tynan on Theatre

            Published in book format, this title is actually a compilation of many of Kenneth Tynan’s articles and reviews written about the theatre. The articles date from as early as 1951-1959. In just ten years, Tynan wrote hundreds of essays and articles now compiled here into six categories: British Theatre, Shakespeare, American Theatre, European Theatre, Portraits, and then one last section for Miscellaneous.

            As I had never truly been an avid reader of theatre reviews, except for when my dad occasionally discarded the Arts & Entertainment section of The Washington Post on Sunday mornings, this was a whole new type of reading experience for me. I was, in fact, reading someone else’s experience. But the wonderful thing about Mr. Tynan, in his reviews he doesn’t just critique, but informs the reader with information about the play, the author and even the creative team behind the play. In fact, his reviews are so well-informed on most every aspect of the plays he has seen, that I find myself thinking that this book could be considered an amazing reference not just intellectuals and researchers, but actors, directors and most undoubtedly: playwrights.

            To give this publication the true attention it deserves, and to exercise my mind a little more thoroughly, I have decided to discuss it by the sections into which it is divided. So these reviews will start in England and end with portraits and musings. This may take awhile, so prepare yourself for the first entry of my thoughts on Tynan on Theatre: British Theatre. 

Welcome

"Robertson Reviews and Reflections" Begins

An exploration into writing reviews and writing about the books I'm learning from

Hello, all - or rather the brave few followers. This is the newest of my series of blogs that I have published, but unlike my other two - this will remain only a source of academic pursuits. 

This blog will consist of two different types of posts: Reviews of productions and Reflections on books I read to learn from. 

Enjoy.