Brideshead Reviewed in The Tablet

Mark Lawson (presumably the one by that name whose day job is a BBC TV presenter) reviews the stage production of Brideshead Revisited in this week’s issue of The Tablet. He saw the play when it was performed last week in Bath. Here’s a summary: 

… Director Damian Cruden and designer Sara Perks eschew any sense of palatial wealth in a production that takes place on a mainly bare stage… A number of chairs do versatile service as cars, trains, boats and even occasionally seats…Waugh radically revised the novel in 1959, trimming a lavishness of language that he attributed to an over-compensation for wartime privation. Lavery strips back the words even further…

The play is more faithful religiously…The theatrical version proves surprisingly sensitive to this intention, honouring, for example, the prolonged debate about whether the adulterous apostate Lord Marchmain should be given the final sacrament on his deathbed… For absolute devotees of either the novel or the ITV series, the experience will be akin to Waugh having to hear Mass in a language other than Latin. But the play is generally an elegant act of compression and reimagination and will give pleasure …

Share
Posted in Adaptations, Brideshead Revisited, Theater | Tagged , | Comments Off on Brideshead Reviewed in The Tablet

Brideshead Reviewed (Southampton)

The English Touring Theatre’s production of Brideshead Revisited opened Tuesday at the Nuffield Theatre in Southampton and is reviewed in today’s Daily Echo by Brian McCusker. Either the performances are getting better through experience or the critics less demanding as the tour progresses. The Echo’s review is wholly favorable. The adaptation “works brilliantly… managing to sweep the audience across the world and through the decades in two hours of compelling dramatic storytelling.”  The review continues

The stage set is wonderfully creative, music and lighting subtly evocative, and direction by Damian Cruden is flawless. Locations are beautifully established…The stormy Atlantic crossing is masterfully and realistically conveyed. As the sexually curious and artistic Charles Ryder, Brian Ferguson is utterly convincing. Playing the damaged and doomed alcoholic Sebastian, Christopher Simpson elicits sympathy, despair, and love from other characters and the audience…

The final scene, which several previous critics thought tedious, is described as  “ingeniously handled” and “movingly stunning.” The play continues at the Nuffield until Saturday and then moves to Cambridge where it opens next Tuesday, 17 May  at the Cambridge Arts Theatre for a 5-day run.

NOTE (14 May 2016): Another review of the Southampton performance appears on the theatrical news website London Theatre 1. This is by Paddy Briggs and is mixed but more favorable than not:

Most, if perhaps not quite all, of Waugh’s characters and key plot elements are present in this play. They are, however, represented by brief extracts rather than by the full scene from the book (or, indeed, the TV Series)… For aficionados of the novel this is not a problem – we mentally fill in the missing bits. But I did wonder whether anyone who is not familiar with the story from either the book of the TV Series (or both) would “get it”.

The pace of the production, the minimalist staging, the limited but clever props all contribute to making this an engaging couple of hours which authentically tells Waugh’s story…The performances are very good and the actors get into their roles (for some multiple roles) convincingly. A special mention for Christopher Simpson’s fine Sebastian and Kiran Sonia Sawar’s nicely pitched Cordelia. The casting fell down on Aloysius the Bear though – he was a bit too large for the part! Director Damian Cruden has achieved a really authentic version of Brideshead Revisited as adapted by Bryony Lavery. The audience at the Nuffield Theatre, Southampton was a bit sparse – I hope that the word gets around and that the houses are full as it moves around the country before arriving in London at Richmond Theatre at the end of June.

 

 

Share
Posted in Adaptations, Brideshead Revisited, Theater | Tagged , , , , | Comments Off on Brideshead Reviewed (Southampton)

Evelyn Waugh, Winston Churchill and Boris Johnson

Boris Johnson, ex-Mayor of London and gadfly without portfolio of the Conservative Party, has written a book about his hero Winston Churchill. Entitled The Churchill Factor, this was published to much acclaim in 2014 and was excerpted in the Daily Telegraph. In the book, Johnson mentions several times Evelyn Waugh’s enmity toward Churchill. Your correspondent, alas, missed this discussion when the book was published, even though a portion of it was included in the Telegraph’s excerpt. But it is mentioned in a recent weblog posting. creating a new opportunity for our consideration. Here is Johnson’s basic position:

There are some people…who may be tempted to dismiss or downplay the virtuosity of Churchill as a writer …. Indeed, he has always had his detractors. Evelyn Waugh, that inveterate Churchill-basher, said he was a “master of sham-Augustan prose”, with “no specific literary talent but a gift of lucid self-expression”. After reading Churchill’s Life of his father Randolph, Waugh dismissed it as a “shifty barrister’s case, not a work of literature”…

Why did Waugh sneer at Churchill’s writings? Notice that he–Waugh–had actually tried to emulate Churchill in the 1930s and got himself sent out to cover a war in Abyssinia. He produced Scoop of course, one of the great stylistic landmarks of the twentieth century. But his reporting had nothing like the same journalistic impact as Churchill’s. Is it that Waugh was just a teensy bit jealous? I think so; and it was not just because Churchill had become so much more famous than Waugh had been, by the time he was twenty five, but that he had made such stupendous sums from writing. And that for most journalists, alas, is the truly sensitive point for comparison

Johnson calls up Waugh’s criticism again to compare his reporting to Churchill’s reports from Malakand and the Sudan:

The reason Churchill has lasted, and the reason his phrases are still on people’s lips, is that he could employ so many styles, not just the pseudo Gibbonian periods [attacked by Waugh], but Anglo-Saxon pith. Some chicken, some neck. We will fight them on the beaches. Blood, toil, tears and sweat, etc

Finally, Johnson refers to Waugh’s dismissal of Churchill’s ability to rally the nation:

Here is our old friend Evelyn Waugh taking the opportunity of [Churchill’s] death in 1965 to put the boot in again. ‘Rallied the nation indeed! I was a serving soldier in 1940. How we deplored his orations.’ Churchill was a ‘radio personality’ who had outlived his prime, said Waugh.

Although not mentioned by Johnson, there is an element of ingratitude in Waugh’s positions since Churchill was among those instrumental in securing Waugh a commission in the Royal Marines at a time when the service establishment was inclined to reject him because of his age, if nothing else. And Churchill was at least indirectly responsible for lifting him out of bureaucratic limbo in 1944 by backing Fitzroy McLean’s decision to support the Partisans in Yugoslavia and posting his son Randolph there on a liaison mission, where Waugh joined his staff. A more detailed and balanced account of Waugh’s attitude may be found in the essay by John Howard Wilson on the subject in the 2005 collection edited by Carlos Villar Flor and Robert Murray Davis, Waugh without End

Share
Posted in Discussions, Scoop, World War II | Tagged , , , | Comments Off on Evelyn Waugh, Winston Churchill and Boris Johnson

Evelyn and Kick

Paula Byrne’s book about Kathleen (“Kick”) Kennedy is reviewed in today’s Independent newspaper of Ireland. Byrne previously wrote a study of Waugh and the Lygon family of Madresfield: Mad World: Evelyn Waugh and the Secrets of BridesheadShe spoke about her latest book, entitled Kick: The True Story of JFK’s Sister, at last year’s Evelyn Waugh conference in Leicester. Waugh and Kathleen became acquainted when she was living in London in the late 1930s during her father’s tenure as U.S. Ambassador. According to the review by Emily Hourican: 

Kick had plenty of well-born boyfriends, but it was Billy Hartington, eldest son of the Duke of Devonshire, heir to estates in Ireland, Scotland, Yorkshire and Sussex, whom Kick fell for. .. But her Catholicism was a major problem. For the Kennedys, being Catholic was as much a part of their identity as ambition and perfect teeth. Billy, meanwhile, came from a long line of committed, active anti-Catholics…There was no possibility that a future son of Billy’s could be Catholic. Equally, for Kick, marrying an Anglican would have to take place in a registry office, and would have been no marriage at all in the eyes of the Catholic Church, but rather living in sin…Finally, Kick agreed to marry Billy, on his terms. Evelyn Waugh, a devout Catholic convert, was horrified, calling it a “mortal sin”.

Whether Waugh applied those precise words or not may depend on his audience. He does not do so in published letters but may have told her as much personally. Byrne had access to Kathleen’s diaries. The review doesn’t explain the marriage terms, but, as reported elsewhere, they agreed that any boy children would be raised Anglican and girls, Roman Catholic. Hartington died in the war before they had any children. During her widowhood, Kathleen and Waugh became closer, at one stage, as described in his Diaries (pp. 629 ff.), they seemed to meet with various friends once a week. Waugh jokingly told his wife in a letter written at that time (August 1945) that “she is in love with me I think” (Letters, p. 211). As described in the Independent, however:

…two years after Billy’s death, on a trip to [his] family’s Irish estate, Lismore Castle in Waterford, she met Peter Wentworth-Fitzwilliam, 8th Earl of Fitzwilliam…Before his death, Billy wrote to Kick ” … if anything should happen to me … I hope that you will marry again, quite soon – someone good & nice”. He may not have had Peter in mind. A married man with a young daughter, Peter was handsome, dashing, dangerous; a decorated war hero, gambler and confirmed womaniser. Evelyn Waugh called him, affectionately, “king dandy and scum” [Letters, p. 145]. A man in the mould of Kick’s father and older brothers, and to Kick, irresistible.

Both Kathleen and Peter died in a plane crash in May 1948 on the way to meet her father to obtain his blessing, which he reportedly, and unlike her mother, may have been prepared to give. Waugh recounted his friendship with Kathleen a few years later when he had once more tried to persuade a Roman Catholic friend against marrying a non-catholic (again unsuccessfully):

I am haunted by the memories of another not very distant tragedy, when I did give advice, disastrously. An American Catholic girl married outside the Church because she was in love with a man under orders for the front. It caused great scandal…Then she was widowed, repented & was received back. She asked me what she should have done and I said: “If you want to commit adultery or fornication & can’t resist, do it, but realise what you are doing, and don’t give the final insult of apostasy.” Well, the girl followed my advice the next time & was killed eloping. So my advice isn’t, wasn’t much help (Letters, p. 382).

The book will be published in the U.S. on 5 July.

Share
Posted in Biographies, Catholicism, Diaries, Letters | Tagged , , | Comments Off on Evelyn and Kick

Waugh’s Country House: Through the Vita-glass Brightly

A new book out this week is described as a social history of the interwar period. This is called The Long Weekend: Life in the English Country House, 1918-1939 by Adrian Tinniswood and is reviewed in the current issue of The Economist. According to portions of the book available on the internet, Evelyn Waugh is cited on elements of country house style and design. A discussion of  country house modernization mentions an ad featuring a refurbished 15c. house near Chelmsford with a “Vita-glass sunroom” as well as a swimming pool. Tinniswood cites Waugh’s use of this same glass in his fictional creation of Margot Beste-Chetwynde’s replacement of her Tudor country house King’s Thursday by modernist architect Otto Silenus. In this new structure, “the aluminium blinds shot up, and the sun poured in through the Vita-glass, filling the room with beneficent rays.” (Decline and Fall, New York, 2012, p. 176). As explained by Tinniswood, Vita-glass was a British invention that was marketed as allowing into the house all the healthful ultra violet rays of the sun (promoting suntan, vitamin D and even killing germs) just as though one were outdoors, where one also had to cope with unheathful English cold and damp.

In another context, the book describes the transformation of socialite Sybil Colefax into an interior decorator, necessary due to diminution of her husband’s income in the 1930s. The results of her work have not, according Tinniswood, withstood the test of time. Evelyn Waugh recommended her to his brother Alec to decorate his house at Edrington. Evelyn urged that “you will be saved the kind of mistakes that are made by decorators who are not used to dealing with persons of quality, and she’s businesslike” (Alec Waugh, Best Wine Last, London, 1978, p. 57). Neither of these predictions turned out to be the case. According to Alec, Colefax was always late for appointments, filled the house with inappropriate furniture, and hung the drapery inside out.

Share
Posted in Alec Waugh, Decline and Fall | Tagged , , , , | Comments Off on Waugh’s Country House: Through the Vita-glass Brightly

The Scorbutic Taxi Driver

A blogger has posted a brief essay on the derivation and useage of the word “scorbutic.” He encountered it in Waugh’s 1927 story “A House of Gentlefolk” where the narrator expresses his disappointment at there being no car arranged to meet him at the station where he has arrived to visit the Duke of Stayle:

With a little difficulty I found the driver of the taxi, a sulky and scorbutic young man who may well have been the bully of some long-forgotten school story. It was some consolation to feel that he must be getting wetter than I. It was a beastly drive.

The writer of the article, who blogs as “Manny” on the weblog Ashes from Burnt Roses, traces the meaning of the word to the Latin for the disease scurvy:

So why is the taxi driver assumed to have this disease? First, the taxi driver’s disease echoes and foreshadows the mentally diseased grandson on which the story will hinge. Second, it shows a society that has been reduced to malnutrition. And third, it’s a detail that can be projected on to the current state of the British Empire, sickened and debilitated. It’s a wonderfully placed detail, pregnant with meaning.

The story is included in The Complete Short Stories of Evelyn Waugh (Everyman, London, 1998, p. 39). 

Share
Posted in Articles, Short Stories | Tagged | 1 Comment

Vogue Exhibit (More)

A review by Alice Sprawls of the Vogue 100 exhibit at the National Portrait Gallery and its catalogue  appears in the London Review of Books for 5 May 2016. See earlier post. This explains that Waugh’s work for Vogue began under the editorship of Alison Settle who was backing the Bright Young Things, as compared to her predecessor who promoted the writings of the Bloomsburys in Vogue’s pages. That may explain how Waugh got taken up by the magazine for his articles in late 1928 for which he was paid 5 gns. each. By 1934, the average price, according to Sprawls, had increased to 12 gns., but Waugh is said to have been paid 20 gns., presumably referring to his article “The Tourist Manual” in the magazine’s 25 July 1934 issue. A new editor (Elizabeth Penrose) replaced Settle about this time, and she put an end (at least temporarily) to the extravagant expenditure on articles by the likes of Waugh. The next article by Waugh to appear in the magazine was in May 1938 (“To See the Queen”). Bibliography of Evelyn Waugh (1986), p. 86. This one is not mentioned in the LRB article, but one is curious to know what Waugh was paid for it.

Share
Posted in Articles | Tagged , , , | Comments Off on Vogue Exhibit (More)

Coping with Modern Times

On the religious weblog Patheos, Tod Worner (blogging as “A Catholic Thinker”) has posted an article entitled “How Evelyn Waugh Taught Me to Cope with Modern Times.” The title, on its face, seems intended to be ironic, since Waugh himself never managed to cope with modern times.  Worner proceeds through some of the  passages of Brideshead Revisited in an attempt to explain how Waugh’s writings helped him. These mainly relate to Charles Ryder’s conversion to Roman Catholicism, suggesting that it was his religion that helped Waugh cope with modern times (at least until that religion itself began to modernize in the 1960s with the Second Vatican Council).

The passages quoted are primarily from the beginning and end of the novel where Charles recalls the effect Brideshead had on him, quoting several times the statement, “I have been here before.” As  Worner describes it:

Charles Ryder, atop that hill, was abruptly awash in clarity. He was immersed in the memories of Truth, Goodness & Beauty. He relived moments of unexpected dignity and unmerited grace. He sensed a Right and a Wrong which, for him, began at Brideshead and coursed more and more visibly through a world that scoffed at such notions. And it made his current world both sad…and hopeful. This is how Evelyn Waugh taught me to cope with modern times.

At least one of the quotes in the article contains text that was deleted by Waugh in his 1960 edits intended to tone down “rhetorical and ornamental language” that he found on reflection was embarrassing. These edits did not find their way into U.S. versions of the novel until 2012 when Little, Brown published a revised and reset edition. The edits in this case do not, however, affect Worner’s conclusions.

Share
Posted in Articles, Brideshead Revisited, Catholicism | Tagged , | Comments Off on Coping with Modern Times

Another Memorial Essay: Who’s A Naughty Boy, Then?

The neoconservative internet newspaper The Washington Free Beacon has posted an essay by journalist Matthew Walther on the occasion of the 50th anniversary of Waugh’s death. This is entitled “Naughty Boy,” somewhat reminiscent of Ludovic’s conversations with his new puppy in Unconditional Surrender.  Walther provides a brilliant one paragraph summary of Waugh’s works. He then reviews Waugh’s life in somewhat more detail, most of which is familiar. Both the life and work are equally important in assessing Waugh’s career, according to Walther, who concludes:

It is not the generous qualities recalled by [Graham] Greene and other friends that are foremost in our minds. Waugh elevated misanthropy to the level of art. His crotchets are the stuff of legend. He delighted in absurdity, in malice, and in outrageous acts of cruelty… Throughout Waugh’s writings there is a visceral disgust with sin, from the pedophilia of Captain Grimes to the adultery of Brenda Last and John Beaver to the casual eugenics of the moronic Hooper. He hated sin with a perfect hatred, including self-hatred. The sense one gets, above all, is that of a horror of confusion and error. One hears in the early novels a cry for order that could not be satisfied by the gin-soaked certainties of reaction or sublimated in well-made paragraphs. From this darkness he turned to “the Father of lights, with whom is no variableness, neither shadow of turning.” 

This is not to suggest that faith was merely instrumental for Waugh, a kind of therapy… It is also important to emphasize that for him Catholicism was not an intellectual, much less an aesthetic or a social affair…Asked on more than one occasion why he was a Catholic, he simply replied, “Because it’s true.”

Share
Posted in A Handful of Dust, Anniversaries, Articles, Catholicism, Decline and Fall, Newspapers, Unconditional Surrender/The End of the Battle | Tagged , | Comments Off on Another Memorial Essay: Who’s A Naughty Boy, Then?

Waugh at the London Library

The Irish Times yesterday ran an article on the occasion of the 175th anniversary of the London Library. This is being celebrated this week with a festival in St James’s Square opposite the library entrance. The article, by Denis Staunton, quotes a letter from Evelyn Waugh to Mary Lygon in which he congratulates her on being elected a member of the library and provides joking advice on how she should behave:

Writing to his friend Lady Mary Lygon in November 1946, Evelyn Waugh urged her to behave with suitable decorum in the “grave precincts” of the library.
“Never write ‘balls’ with an indelible pencil on the margins of the books provided. Do not solicit the female librarians to acts of unnatural vice. When very drunk it is permissible to fall into a light doze but not to sing… By observing a few simple rules such as the foregoing you will find yourself perfectly acceptable to the more amorous scholars who abound in the darkened bays,” he wrote.

There were other pieces of advice in the letter that have been omitted from the quote:

Always go to the closet appointed for the purpose if you wish to make water. Far too many female members have lately taken to squatting behind the Genealogy section…Fireworks are always welcome in the reading-room but they should be of a kind likely to divert the older members rather than to cause permanent damage to the structure… There is a beautiful character called Mr Cox at the London Library. You must not make jokes about his name (Letters, p. 240).

A footnote explains that Frederick Cox (1865-1955) worked at the library for seventy years.

Share
Posted in Anniversaries, Letters, London | Tagged , , , | Comments Off on Waugh at the London Library