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The London Stage in the 20th Century
By Robert Tanitch
Haus Books £30
312 pages
Dateline: 26th October, 2007
Robert Tanitch's Magnum Opus is a mighty book, weighing in at some
3½ pounds. It will appeal to three different markets but seemingly,
Haus Books have decided that the coffee table is their major goal.
On one level, this is a sumptuous pictorial history of theatre as it
was seen in London during the last century. On another, it is a scholarly
work that has identified the opening night of every significant play
that appeared on a main London stage in the period. Finally, with its
pithy commentaries on almost every one of those productions, it is also
a work of multiple mini-critiques. As a bonus, it could even also prove
a boon for those who need to set theatre quizzes - name London's twelve
20th-century Uncle Vanyas?
As it performs each of these purposes, The London Stage in the 20th
Century repeatedly proves to be a delight, while as Christmas approaches,
the relatively modest price of £30 should ensure that it sells
well to theatre lovers in London and also much more widely.
It starts worthily with Congreve's She Stoops to Conquer at
Waldorf (the definite article is dropped in theatre names of the past)
commencing on January 9, 1900 (arguably the start of the final year
of the 19th century?), featuring Cyril Maude and Winifred Emery, as
well as George Giddens who was apparently a very funny Tony Lumpkin.
The book then proceeds through many thousands of entries until it finally
reaches December 16, 1999 and fittingly ends with the major playwright,
represented on this final occasion in Michael Attenborough's Barbican
Othello for the RSC featuring Ray (not Roy - one can forgive
this gigantic book the odd typo) Fearon and Richard McCabe.
Statistics are in this case a good measure of what is in store in between.
There were no fewer than 48 Hamlets, or one every other year,
from F. R. Benson to Alex Jennings; and ignoring the recording of his
birth, 53 entries for the actor and National Theatre director who eventually
became Lord Olivier, commencing on February 6, 1928 when he was "a
lively Malcolm" in Macbeth at Court. No doubt he would be
more than a little irritated to find himself comfortably bettered by
John Gielgud who gets around 25 more entries.
As readers of the previous paragraph will have guessed, the book is
well indexed - twice over, once by name and secondly by play. In addition,
there is an index to and a map of London theatres past and present.
In many ways, for the general reader the greatest fun will be derived
from reading the brief summaries and in some cases violently disagreeing
with them (Eve Best was unforgettably brilliant opposite Jude Law in
'Tis Pity She's a Whore whatever Mr. T. might say). Thankfully
there are far more where one can either learn a great deal as well as
nod at the writer's great wisdom and perspicacity, not to mention economy.
A single random example will suffice to give a flavour. During the
Second World War on March 27, 1941, "Diana Wynyard, Rex Harrison,
Lilli Palmer and Elizabeth Welch in S. N. Behrman's No Time for Comedy
directed by Harold French at Haymarket. The slanging match between two
women over a suave, boorish charmer made for slick, glossy, mechanical
comedy". On reading that synopsis, you will immediately know that
either you are devastated that you will not have the opportunity to
see the production or relieved that it happened long before your birth.
This brief overview gives something of a feel for the scope of a book
that inevitably encompasses the work of every major actor of the period
and every theatre. In addition to Tanitch's own commentaries, he also
gets help to give readers the essence of a production by quoting reviews
from major newspapers, often mischievously contrasting positive and
negative notices of the same play or performance.
The photos help too, many of them emotive and featuring images and
stars that are iconic. Skimming at random, one comes across Mr. and
Mrs. Herbert Beerbohm Tree playing the ass in A Midsummer Night's
Dream, Charles Laughton and Flora Robson in Henry VIII, the
Beyond the Fringe team and moving right up to date Maggie Smith
emerging eponymously as The Lady in the (Alan Bennett's) Van.
There is also a poster-sized double page spread of the original cast
of Waiting for Godot.
There are many other attractions too, including the possibility of
putting period into context: for example looking in 1955 and 1956 at
the arrivals of Waiting for Godot, the Berliner Ensemble and
Look Back in Anger in a period when, in addition to the oft quoted
examples of Terence Rattigan and Noel Coward; Dora Bryan and Margaret
Rutherford were otherwise ruling the roost.
Those studying theatre history in generations to come or researching
books will praise Robert Tanitch for the two years of hard graft that
he has put into the creation of this delightful volume, produced to
the highest standards by his publishers.
This might not be an easy book to read from cover to cover but anyone
getting into it will be constantly delighted as they come up with reminders
of great names and events from the past, productions that they have
been lucky enough to see themselves and gorgeous photos to add to the
effect.
If you know somebody who has any interest at all in theatre and has
a strong coffee table, this is guaranteed to prove a treasured and highly
valued Christmas gift. If you have the misfortune to miss out due to
the thoughtlessness of relatives and friends, you could always buy it
for yourself. You won't be disappointed.
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