Brideshead Reviewed in Worcestershire (More)

The Redditch Advertiser and other local papers has published a review of the Malvern performance of the Brideshead Revisited stage production. This is by Alan Wallcroft who emphasizes that the performance in Malvern is a “nostalgic homecoming” for this story:

which owes a large slice of its inspiration to Madresfield Court, situated just a couple of miles out of Malvern. Although Castle Howard is very much in the nation’s psyche as Brideshead thanks to the original television series, Waugh’s ‘revisited’ owes considerable gratitude to Madresfield. He did stay there and his 1930s-based story was influenced by and is inexorably linked to the home and the family occupying it at that time. He also visited Castle Howard in the late 1930s.

Wallcroft singles out the performances of Shuna Snow and Brian Ferguson as well as that of Kiran Sonia Sawar as Cordelia, who is seldom mentioned in previous reviews. He also praises the settings and direction, although he finds the script “works to a degree, … it fell a shade short of hitting the hotspots Waugh’s novel provides.” His review concludes:

This is an evocative tale that is more about a place than people. A steady plod at first, there is a considerable lift to the proceedings post-interval. It does have a charm of its own which helps to make it an engaging production overall.

Blogger Tim Crow also posted a review of the Malvern performance on the site “Behind the Arras.” He decries the company as 

a strong team who work together very smoothly and maintain essential pace to ensure that a fairly lengthy play does not drag. This is an excellent show that undertakes a considerable challenge and succeeds in no small measure because of the powerful visual impact of the design. The lighting is subtle and compliments the largely bare stage and sliding screens to provide variety and a strong visual impact…The first half was a trifle ‘bitty’ in seeking to introduce a wide range of elements; the second half was particularly poignant. This is a sophisticated and powerful show that deserves to have good houses despite its somewhat selective appeal.

That two reviewers should find the second half better than the first suggests some adjustments in the performance as the tour advances. Many of the early reviews found the second half the weaker of the two parts.

Tammy Gooding of the BBC Hereford and Worcester also interviewed the cast and crew on the Wednesday edition of its news program. The play’s last performance in Malvern is today before it moves on to Brighton next week.

 

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The Daily Beast on The Daily Beast

In an article in the online newspaper The Daily Beast, Robert Bateman describes the origin of the paper’s name. He recounts how the 1935 Abyssinian War was influenced by the First Abyssinian War of 1895-96, which Italy lost disastrously. Benito Mussolini was 13 at the time of that defeat and was determined to put things right with another invasion:

Enter Evelyn Waugh… What matters here are the events of 1935, when Italy, massed on both the northern and eastern borders of Abyssinia, looked like it was ready to invade. That was when Waugh was sent to the region by the British newspaper The Daily Mail. What came out of that, his second trip to the region, was pure comic genius, as well as a depressing and still relevant commentary on the nature of journalism, and perhaps a bit about British society… the novel Scoop…In that novel Waugh lampoons his own experiences, melds them to those of some other correspondents, and skewers the very notion of war journalism, the concept of keeping people informed (vice manipulating them), and how wars are made. Scoop has all of that, and more. Get the book.
Oh, and the newspaper for which Waugh’s hapless neophyte reporter works for an egotistical and increasingly unbalanced owner and editor? That would be the fictional British daily newspaper known as, Daily Beast. Get it now?

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Vile Bodies and Aladdin Sane (More)

Waugh biographer and blogger Duncan McLaren has posted a thought-provoking article on the influence of Waugh’s novel Vile Bodies on David Bowie’s composition of Aladdin Sane. See earlier posts. McLaren reimagines Bowie’s work against the backdrop of the parties he attended on his 1972 U.S. tour and compares that experience to the parties of 1929 London that populate the pages of Waugh’s novel. McLaren concludes: 

So David Bowie loved Vile Bodies because it reminded him of all the crazy parties he was going to in 1972, and interpreted it’s ending to be a warning that society could be about to go down the pan again. And I love Vile Bodies because, yes, Evelyn Waugh wrote vividly about the crazy parties of 1929, but also because he managed to turn personal disaster into a stunning metaphor.

As usual, McLaren supplies evocative photographs for his article, including in this case a series in which a 1920s photo of Evelyn Waugh morphs into the David Bowie cover photo for the Aladdin Sane album. McLaren has written at greater length on the influences of Waugh’s life experiences on his composition of Vile Bodies in his book Evelyn! Rhapsody for an Obsessive Love.

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Waugh Letters to Anthony Powell to be Auctioned

Bonham’s auction house has announced the sale of the letters written by Evelyn Waugh to his friend and fellow novelist Anthony Powell. The letters cover the period 1927-1964 and include letters from Waugh’s first wife to Powell who remained on friendly terms with both her and Waugh after their divorce. In all, there are 42 items consisting of 21 letters and 21 post cards and letter cards from Waugh (lot 203) and 51 from his first wife (lot 204).

The letters are noteworthy in that they include items relating to Waugh’s earliest works,  Rossetti and Decline and Fall. Powell was working for the publisher Duckworths at the time and introduced Waugh to the firm. They published Rossetti and subsequent travel books but passed on Decline and Fall. Three letters are reproduced in the linked announcement, including one relating to publication of Rossetti. Waugh’s collected Letters included 11 now being sold. The auction will take place on 15 June 2016.

UPDATE (7 November 2018): Clarification of total number of letters received from Evelyn Waugh and his first wife.

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Brideshead Reviewed in Worcestershire

The touring  stage production of Brideshead Revisited opened earlier this week in Malvern at the Festival Theatre in the Malvern Theatres group for a one week run. It was reviewed yesterday by John Philpott in the Worcester News and other local papers. Malvern is the closest town to Madresfield Court where Waugh received his inspiration for the Flyte family and their stately home at Brideshead Castle, a point which Philpott notes in his review:

THESE are not people who are easy to like, pampered and cosseted individuals cosily insulated from the gathering storm of the late 1930s. Nevertheless, Evelyn Waugh’s spiritual odyssey through upper class life retains its allure down the decades as some of the characters find redemption while others do not.

He singles out for praise the performances of Brian Ferguson as Charles Ryder and actress Shuna Snow in three male parts–Bridey, Rex Mottram and Kurt the German, in a “glorious voice that is a sort of cross between Prince Charles and Mr Cholmondeley-Warner.” His overall assessment is positive:

…how do you adapt for the stage a story in which the architectural excess almost eclipses the human profligacy? The answer is that you don’t even try. And this is why director Damian Cruden and Sara Perks’ minimalist ‘sliding doors’ design succeeds so effectively. Add to this composer Christopher Madin’s brooding, ethereal score and the dream-soaked ambiance is complete.

Another review by Robert Gore-Langton appeared in The Lady magazine. He had previously written a more condensed review for the Daily Mail. See earlier post. His assessment is less positive than Philpott’s, and to him, Shuna Snow’s attempt to play three male parts “seems absurd.” As he noted in his previous review, any effort to put this story on the stage is a challenge, especially given the previous Granada TV adaptation (in which Gore-Langton played a walk-on, non-speaking part) that “with its gorgeous locations, lingers in the memory so much that it has rather obscured all other attempts to bring it to life.” 

The performance in Malvern will continue through Saturday after which the play moves on to Brighton where it opens next Tuesday at the Theatre Royal for a one-week run.

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Waugh and Ian Fleming

In an article published in the Guardian, Nicholas Lezard reviews the recent collection of Ian Fleming’s letters entitled The Man with the Golden Typewriter. This is edited by Fergus Fleming, author of several books and Fleming’s  nephew (son of his younger brother Richard). Waugh is mentioned briefly in the review as having offered Fleming “advice on how best to recuperate from a heart attack (‘Be sucked off gently every day’).” This is quoted in a letter from Fleming to his publisher William Plomer, dated 30 April 1961. Whether the advice was offered in person or in a letter is unclear.

There are several other references to Waugh in the book not mentioned in the review. Perhaps the most interesting appears in Fergus Fleming’s introductory text (p. 11) where he describes his uncle’s establishment of Queen Anne Press. At the time, Fleming had written but not published his first James Bond novel, Casino Royale. He approached Waugh for a contribution to his new publishing venture, and Waugh agreed at first to a collection of reviews to be called Offensive Matters. In a response Fleming suggested a “short introduction on the virtue of being offensive and the decline of invective.” In the end, Waugh contributed the text of what became The Holy Places based on his article about the Middle East for Life magazine. Waugh is quoted as having described the book as “a great balls-up of a little book of mine [by] Ian Fleming’s idiot printing press.”

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Waugh and St Dominic’s Dursley

Richard Barton has posted on the internet the text of a booklet published in 1989 in which he wrote the history of Roman Catholic worship in Dursley, Gloucestershire, from 1933 to 1989. Dursley is the town next to the village of Stinchcombe where the Waughs lived at Piers Court from 1937 until 1955 when they moved to Combe Florey. Although Roman Catholic services in Dursley can be dated to 1915, regular worship began only in 1933 when Mass was conducted in the local YMCA. The Waughs began worshipping there as soon as they moved to Piers Court. As described in Barton’s history, Waugh

…was obviously not impressed by the arrangements for the celebration of Mass at Dursley. He wrote in his personal diary, ‘Mass among the cigarette stubs at the Dursley Y.M.C.A
’ A fortnight later, he attended Mass at Nympsfield and wrote, ‘afterwards, by appointment, I took Laura into the convent
 We drank coffee in a group of nuns. I was reproved by Mother Superior for suggesting that the time of the Dursley Mass was inconvenient – “you should have arranged things differently”.’

Waugh is remembered by many locals for dressing flamboyantly, arriving late for Mass and voicing the thoughts of a congregation, in loud whispers, during a long sermon or a second collection. 

By the time the Waughs arrived, a move was well under way to construct a church in Dursley, and this was accomplished in early 1939 with the opening of St Dominic’s Church in its own building. Waugh was by that time active in the parish. In June 1939

… Evelyn Waugh, who was also a school governor, started a debating class at St. Joseph’s School. During the summer, as the days led up to the outbreak of war, Evelyn Waugh refers, in his diary, to Father Murtagh spending the sum of ÂŁ40 on plaster stations of the cross – presumably for the new church at Dursley.

The war years saw various changes to life in Dursley. Evacuees arrived from various places and Evelyn Waugh vividly describes waiting for the arrival of the evacuee children in Stinchcombe on 1st September 1939. He refers to the villagers waiting, listening to the radio in Mrs. Lister’s car, before empty buses arrived and, finally, a police officer who informed them that the children had come four hundred short and that there were now none for Stinchcombe.

Towards the end of the month Dominican nuns arrived to take up residence at Pier’s Court. According to Waugh, they planned to bring thirty children, two parents, six nuns, a mistress and a priest. The nuns remained at Piers Court until September 1945 when the Waughs returned.

During the war years, the Waughs had little contact with the Dursley parish but returned to worship there in the postwar years:

Waugh wrote in his diary, shortly after his return to Piers Court, ‘to Mass in Dursley. We expected some welcome from our neighbours but have had none.’ Molly Lister wrote to her son, during September 1947, ‘I have got petrol for Dursley and go each Sunday morning. This morning Evelyn Waugh offered me breakfast at Piers Court any Sunday morning. I would like to accept and I thought it most kind of him.’

Shortly before moving to Combe Florey, the Waughs hosted a fete at Piers Court in 1955 and enlisted the St Dominic’s parishioners in the event, as described in this letter Waugh wrote to the parish priest:

“Dear Father Collins,

An announcement at Mass on the following lines will greatly help:

‘If the weather is fine a large attendance from outside the parish is expected at the Fete at Piers Court on Sauturday next August 14th. The Catholic Women’s League and the St. Vincent de Paul Society are undertaking the bulk of the work but other helpers are urgently needed both in the morning and afternoon. Will those who are willing to give their time please leave their names at the church porch stating the hours they will be free. We also greatly need presents suitable for prizes at the various stalls, objects for the jumble sale and cracked china and glass to be used as targets for missiles.’

Yours sincerely

Waugh.”

Barton describes the Lister family, mentioned in the quotes, as prominent local Roman Catholics and owners of several manufacturing enterprises in the Dursley area, who were active in promoting the construction of St Dominic’s Church.

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Waugh Character in List of Oxford Notables

The Oxford Royale Academy, which offers summer school and other college preparatory instruction, has published in its promotional materials a list of 8 of the most famous Oxford literary characters. Included on the list is Sebastian Flyte:

In reality, Oxford is full of a whole variety of different types of people. In fiction, though, it’s disproportionately attractive but somewhat dissolute noblemen. The archetype of these is Sebastian Flyte, one of the main characters in Evelyn Waugh’s famous eulogy to interwar Britain, Brideshead Revisited …Waugh wrote Brideshead Revisited during the privations of the Second World War, and the book is infused with nostalgia for pre-war food, society and behaviour, which Sebastian Flyte, with his aristocratic background, wealth and taste for sensuality, embodies perfectly. Brideshead Revisited has come to inform many people’s beliefs about what Oxford is really like; if they don’t believe in the petty grudges solved by crossbow in the Inspector Morse novels, then they might well believe in the endless summer of champagne and strawberries that undergraduate life is made out to be in Brideshead Revisited.

Others on the list include, as noted in the quote, Inspector Morse from Colin Dexter’s novels and the long running ITV series, as well as Lord Peter Wimsey and Harriet Vane from the novels of Dorothy Sayers and The White Rabbit from Lewis Carroll’s Alice’s Adventures in Wonderland.

 

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BBC Repeats Panel on Decline and Fall

BBC Radio 4 is repeating the 2013 panel program on Waugh’s first novel Decline and Fall. This is part of the series entitled “In Our Time” hosted by Melvin Bragg:

David Bradshaw, John Bowen and Ann Pasternak Slater join Melvyn Bragg to discuss Evelyn Waugh’s comic novel Decline and Fall. Set partly in a substandard boys’ public school, the novel is a vivid, often riotous portrait of 1920s Britain. Its themes, including modernity, religion and fashionable society, came to dominate Waugh’s later fiction, but its savage wit and economy of style were entirely new. Published when Waugh was 24, the book was immediately celebrated for its vicious satire and biting humour.

The program is available now on BBC iPlayer over the internet worldwide.

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Waugh in the OED

The Oxford English Dictionary has made available an inventory of its quotations of Evelyn Waugh’s works. This is cached on Google at this link. According to this summary, Waugh is the 775th most quoted author and Put Out More Flags is his most quoted book. Tip of the hat to David Lull for sending this along.

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