Brideshead Reviewed in Bath

The English Touring Theatre’s production of Brideshead Revisited opened yesterday in Bath. The review in Bath Magazine by Melissa Blease found the adaptation “elegant” and the direction “artful”:

…whatever your take on the tale, this is a thoughtful, intelligent production of an exquisitely wrought eulogy to past times, vanished youth and bittersweet nostalgia, beautifully carried along by a multi-tasking ensemble cast… and definitely worth revisiting.

Writing in the Bath Chronicle, Nancy Connolly thought the adaptation “very stark,” requiring the audience to imagine the story’s splendor, but deemed the production “courageous [to] lay bare an English country classic.” She

wonders if, when trying to reduce this epic to a stark two-hour production, the story has been lost somewhat in the process, although the staging even without the house and trappings is incredibly clever and modern. 

The unidentified reviewer in the Swindon Advertiser is struck unfavorably by the bare staging:

What results is something very modern, which is – unfortunately – strongly at odds with the source material, which goes to great lengths to evoke a certain time and place. This is Brideshead by Warhol, an odd mish-mash to say the least.

The cast “do their best to flourish” but except for Brian Ferguson as Charles 

we learn little of the deep emotions and motivations that guide them to their decisions. By trying to fit too many details and events into the short running time the production as a whole suffers.

The play is “ultimately hamstrung both by the odd staging and the stilted structure, over-promising and under-delivering.”

NOTE (7 May 2016): On Friday, 6 May 2016 another review of the Bath performance of the Brideshead adaptation was posted by Rebecca Lipkin on a website called The Arbuturian. This concludes more positively than some of the others:

This production might not have romantic backdrops of landscaped gardens or a soundtrack you can hum along to, but it’s all the more thought-provoking because of it. There is a depth and sensitivity pouring out of each cast member; all apparently united in their desire to tell the story of how one man’s life can be so affected by a desire to be a part of a class and family to which he was never destined to belong.

 

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Vile Bodies to be Celebrated at London Event

The Late Night Library Club of London had announced a rescheduled celebration of Waugh’s novel Vile Bodies and the Bright Young People who populated its pages. This will occur on Saturday, 25 June from 7pm-130am at the Sutton House Museum in Hackney E9. Here’s the announcement from the Late Night Library Club’s Facebook page: 

The third edition of Late Night Library Club is a repulsive celebration of Evelyn Waugh’s too too splendid novel, Vile Bodies. Join your fellow Bright Young People at the transformative Sutton House and immerse yourself in a night of drunk-making revelry.

Vile Bodies will see the return of host transdrogynous dandy La John Joseph; a truly spiritual performance from Mrs Ape and her angels presented by Ben Borowiecki, too too smashing choreography lessons with Babs Florence Ducane (mind the chandelier!); elocution lessons with Baroness Redesdale; hone your writing skills and contribute to gossip rag The Daily Excess with gutter guidance from the LNLC Chatterboxes; moving pictures in the You and Non-You Tube screening room; and dance the night away before you likely stumble upon No. 10 in the early hours for eggs and bacon.

Our BRAINBOX PANEL for the book club Q&A chapter of the Vile Bodies evening will be chaired by magnificent transdrogynous dandy La John Joseph, with panellists:
Duncan McLaren, author of the recently published ‘Evelyn!: Rhapsody for an Obsessive Love’; Rebecca Moore, PhD student at Leicester working on the Complete Works of Evelyn Waugh Project; David Levesley a journalist for Sky News (and more) who wrote and directed a Waugh estate-endorsed adaptation of Vile Bodies at the Warwick Arts Centre and V&A Museum in 2012.

More details, including tickets, are available here.

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Waugh Quotes in Wall Street Journal

The Wall Street Journal publishes a column called “Notable & Quotable” that features quotations worth further contemplation. The latest issue contains a quote from a letter Waugh sent to Thomas Merton in August 1948 advising him on how to improve his writing skills:

Never send off any piece of writing the moment it is finished. Put it aside. Take on something else. Go back to it a month later and re-read it. Examine each sentence and ask “Does this say precisely what I mean? Is it capable of misunderstanding? Have I used a cliché where I could have invented a new and therefore asserting and memorable form? Have I repeated myself and wobbled round the point when I could have fixed the whole thing in six rightly chosen words? Am I using words in their basic meaning or in a loose plebeian way?” . . . The English language is incomparably rich and can convey every thought accurately and elegantly. The better the writing the less abstruse it is. Say “No” cheerfully and definitely to people who want you to do more than you can do well.

Most of this same quote appeared earlier this year in the artsblog of Terry Teachout, the WSJ’s drama critic, and this may have inspired its inclusion in the newspaper’s column. See earlier post. The letter is sourced to Mary Frances Coady, Merton & Waugh (2015).

This is the second time this year that a Waugh quote has featured in this column. On 26 February 2016 there was a quote from Waugh’s 1939 book Robbery Under Law regarding his definition of a conservative:

A conservative is not merely an obstructionist who wishes to resist the introduction of novelties; nor is he, as was assumed by most 19th-century parliamentarians, a brake to frivolous experiment. He has positive work to do . . . Civilization has no force of its own beyond what is given from within. It is under constant assault and it takes most of the energies of civilized man to keep going at all . . . If [it] falls we shall see not merely the dissolution of a few joint-stock corporations, but of the spiritual and material achievements of our history.

(Penguin Classics, 2011, p. 311). In both cases there are handsome photographs of Waugh heading the column, one smoking a cigar upon arrival in New York in 1947 and the other from 1935 in a bowler hat. These may not appear after the first link to the article unless you have a subscription.

NOTE (17 May 2016): An economist, Timothy Taylor, blogging as the “Conversable Economist”, was inspired by the WSJ quote of Waugh’s letter to Merton to read Mary Frances Coady’s book. His comments are posted here.

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Brideshead Reviewed (Still More)

Another brief review of the Brideshead Revisited stage production has appeared in the Yorkshire Times and other local papers. This is by Lauren Masterman who writes:

As always with Damien Cruden as Artistic Director expect innovation and an imaginative combination of classic and contemporary techniques as he unleashes his talent on this brand new stage. This is a thrilling play from beginning to end; tumultuous friendships, dramatic outbursts, star-crossed lovers and more as we watch the unravelling of Charles Ryder and the Marchmain family.

The actress who plays Julia Flyte was also interviewed in connection with the recent premiere. This is Rosie Hilal and a transcript of the interview appeared on a theatrical internet news site The Bardette. Here’s the Q&A relating to the Brideshead performance:

Q. Describe Brideshead Revisited in 3 words.

A. Delicate. Heart-breaking. Redemptive.

Q. What has been your career highlight so far?

A. Playing Julia Flyte is pretty high on my list, as is playing Electra at the Globe last year. As parts go, they have been the meatiest so far, and the most challenging.

The production moves to Bath where it opens today at the Theatre Royal for a 5-day run.

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NYPL Picks Famous Literary Breakup Lines

The New York Public Library asked its staff to suggest famous breakup lines from literary sources. This is on the occasion of the anniversary of the Pulitzer Prize awarded to Gone with the Wind where Rhett Butler left Scarlett O’Hara on her doorstep with the now classic “Frankly, my dear, I don’t give a damn.” The “frankly” was, according to the NYPL source, added for the film version. 

Evelyn Waugh makes an appearance with some parting lines of Adam and Nina in Vile Bodies:

“I say, Nina,” said Adam after some time, “we shan’t be able to get married after all.”

“No, I’m afraid not.”

“It is a bore, isn’t it?”

(Penguin, 1975, p. 83). This was suggested by Meredith Mann of the NYPL’s Electronic Resources Department who described it as an example of “blasé gentility”. There are, however, several other equally poignant breakups between Adam and Nina yet to come in the novel. For example, on pp. 183-84 where in the course of two telephone conversations each breaks up with the other and on p. 197 where Adam tells her he’s done something extraordinary and won’t be able to see her again. As he explains, he sold her to his rival Ginger Littlejohn for £78.16.3 to settle his hotel bill. At the time Waugh wrote these lines,  he was rather obsessed with breakups because he had learned that his first wife had dumped him about half way through the book.  

 

 

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Handful Profiled in Indian Press

Today’s English-language edition of Mid-Day, a daily Mumbai compact newspaper, features an article that profiles Waugh’s 1934 novel A Handful of Dust and compares it to the social mores of the present day. This is by Aditya Sinha in his column “The Hippie Hindu.” The article begins by describing the book as “simultaneously a hilarious novel while being a most depressing read.” After summarizing the plot, Sinha continues

Waugh’s writing pierces the heart of two matters: marriage and human nature. Marriage is such a precarious and impossible Westphalian balance-of-power that it often ends in a Cold War type standoff, each partner held back by the fear of Mutually Assured Destruction (yes, marriage is MAD). Brenda’s feeling of imprisonment is uncannily familiar…In A Handful of Dust, Waugh takes the most intimate human connection, marriage, to reveal our wasteland of savagery; and if two people can’t escape the asphyxiation of association, then society likely can’t, either. No surprise that the modern world around us often seems more depressing than the saddest of stories. Waugh got his novel’s title from TS Eliot’s The Waste Land, which says: “our society promises to show us fear, in a handful of dust”. That possibly exemplifies our modern condition.

Sinha also manages to get in a mention of Waugh’s follow-on novel  Scoop (1938) which he describes as:

a riotous look at journalism through stylised prose…[that] never resorts to abuse, [in] contrast to the illiterate hordes in contemporary India, whose intellectual achievement is to call journalists “presstitutes”. 

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Waugh on Queueing

In today’s Canberra Times there is an article about the prospect faced by Canberrans of the need to queue for tickets to popular events such as hockey matches. This is apparently an unusual feature of life in Canberra, a city that is small enough to avoid the need for queueing, a phenomenon which the writer of the article (Ian Warden) says is more typical of England:

Perhaps because of my English working-class background, I have always had a fondness, an aptitude, even a genius for queuing. Traditionally the English are accomplished, virtuoso queuers. In one of Evelyn Waugh’s novels there are docile working-class Londoners who go out looking for queues to join, never asking what it is they are queueing for.

Warden must be thinking of Waugh’s novel Unconditional Surrender which begins with the description of a queue that has formed outside Westminster Abbey to view a sword that will be presented to the Soviet Union in gratitude for their help in winning WWII:

The people of England were long habituated to queues; some had joined the procession ignorant of its end–hoping perhaps for cigarettes or shoes–but most were in a mood of devotion…Already the police were turning away the extremity of the queue saying:”You won’t get in today. Come back tomorrow morning–early,” and the people obediently drifted into the dusk to join other queues elsewhere (Unconditional Surender, New York, 2012, pp. 15-16, 31).

 

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Waugh’s Writing Cited for Guyana Anniversary

The current issue of Caribbean Beat (the inflight journal of Caribbean Airlines) carries a story about the five areas of touristic interest in Guyana. This is part of a promotional effort in connection with this year’s 50th anniversary of Guyana’s independence. One of the regions described is the savannah (or Rupununi region) lying south of the coast. It was in this region (in what was then British Guiana) that Evelyn Waugh spent much of his time during a 1932-33 trip he later described in his book Ninety-Two Days. The author of this section of the article (Brendan de Caires) quotes from Waugh’s book to evoke the character of this remote area:

Outsiders aren’t always charmed. Trekking towards Brazil in 1933, the British writer Evelyn Waugh felt so disoriented by the landscape — “empty plain; sparse, colourless grass; anthills; sandpaper trees, an occasional clump of ragged palm” — that he sought refuge in the writings of Thomas Aquinas. Waugh’s diary, which would later be written up as Ninety-Two Days, finds him “sat among ants for an hour,” enduring “great heat and suffering from thirst,” cold and sleepless in his hammock, and with “feet full of jiggers.” Water offered no relief: “one does not do much swimming in these rivers because they are full of dangerous creatures — sting ray, electric eels, and carnivorous fish.” En route to Kurupukari, he endures the company of Mr Bain, a man whose “tiresome solicitude” and garrulity disprove the legend that “men who administer distant territories are ‘strong and silent’”:
“Listen,” said Mr Bain one day, “that is most interesting. It is what we call the ‘six o’clock beetle,’ because he always makes that noise at exactly six o’clock.”
“But it is now a quarter past four.”
“Yes, that is what is so interesting.”

Waugh returned to British Guiana in 1962 on a cruise with his daughter Margaret, then 19.  He wrote of this journey for the Daily Mail and the Sunday Times in articles reprinted in Essays, Articles and Reviews (“Here They Are, the English Lotus-Eaters,” p. 583 and “Eldorado Revisted,” p. 592). He found conditions in Guiana much changed since the 1930s, with horseback travel to the interior replaced by jeeps and airplanes in the wake of newly opened bauxite mines. He was appalled by the racial hatreds that had been revealed by introduction of a degree of self rule and concluded that “no collection of people could be less ‘ripe for democracy’ or even for one-party dictatorship” (EAR, p. 595). Waugh also discovered after his return to England that he had bored some of his British hosts during this visit, a revelation from which he never fully recovered.

 

 

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Waugh Biographer to Appear at Buxton Festival

The Buxton Festival in mid-July will feature a talk by Philip Eade on his new biography of Evelyn Waugh. The talk is scheduled for Wednesday, 13 July at 1:45p in the Pavilion Arts Center; tickets £10.50. This will be a week following the announced UK publication date of  Eade’s book on 8 July. Here’s a description of the talk:

In the 50th anniversary of the death of Evelyn Waugh, Philip Eade presents some of the most revealing and in some cases unknown events of his 63 years: his difficult relationship with his embarrassingly sentimental father and favoured elder brother, and the burning ambition they inadvertently provoked in him; his love affair with Alastair Graham at Oxford; his disastrous first marriage to Evelyn Gardner and its complicated annulment; his momentous conversion to Roman Catholicism; his complex interest in the aristocracy, and what the aristocrats made of him; his chequered wartime career; his nervous breakdown; his strangely successful marriage to Laura Herbert; his unconventional attitude to his six children; his sharp tongue; his devastating wit; his egomania; and the love, fear and loathing that he variously inspired. 

Other scheduled speakers of likely interest to our readers are D J Taylor (author of The Prose Factory), Alexei Sayle (admirer of Waugh’s satiric wit) and Benjamin Wild (who will talk about Waugh’s contemporary, Cecil Beaton). Here’s a link to the literature program

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Lisa Hilton Video re Brideshead

Novelist and biographer Lisa Hilton has posted a one-minute video in the Why I Love This Book series explaining why Waugh’s 1945 novel Brideshead Revisited is her favorite novel. She is most impressed by the quality of the writing which managed, in a period of extreme deprivation, to convey a sense of joyfulness and luxury by recalling the recent past. Hilton has recently published a thriller entitled Maestra under her initials L.S. Hilton. This promises to be the first part of a trilogy. She is known in this parish as the author of The Horror of Love which is a study of the relationship between Nancy Mitford and Gaston Palewski. See previous post. The video can be viewed on YouTube.

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