A Hollywood Guy Marriage

I loved the production of The Tailor Made Man and the particular idiosyncrasies of the audience so much that 1 saw this lovely production twice.   I was so overwhelmed by the ambiance on the first occasion that I rose unihibited to  start the standing ovation!

I am personally so glad that at last men and women of both sexual persuasions are now legally allowed to live their lives without sanction.  I'm not naive enough to believe that this is the end of discrimination and fear of difference from the straight community but it is certainly a great step forward in the humanizing of our society's framework.

The production of Tailor-Made Man is based on a true love story between Jimmy Shields and William Haines.  We are introduced to the story retrospectively as a young reporter interviews an elderly man (Jimmy) about his lover.  This scene is a clever story telling device which introduces and ultimately ends the story of the two lovers.  

William and Jimmy had to survive not only the anti-gay feelings of 1930’s society, they also had to tread the tight rope of the Hollywood Dream Factory Rules about such matters...  William Haines was supposed to be leading man material and he was therefore required to carry off the persona of rampant heterosexuality in order to pursue his ambitions.  Utlimately the strength of their love resulted in an relationship that lasted over 50 years (until the untimely death of Billy).

It was not only a sleek and stylish production with performances from Dylan Turner (Billy), Bradley Clarkson (Jimmy), Vivien Carter (Betsy Dawson) and Kay Murphy (Pola Negri), particularly standing out, it was also a passionately naturalistic statement of the human right to love who you want to.

Film blogger, Ithankyou has an articulate and thoughtful review of this production which I recommend to you: William Haines, Arts Theatre, London… Tailor Made Man (2013) 

You can’t hold a candle to the Duchess of Malfi

But you can, if you are lucky enough to have been bought up by a drama addict, and are able to bare witness to arguably the two best productions of the Duchess of Malfi performed in modern times.

Both were played in semi darkness.  The 1981 production was in the Round House with that immense, windowless cavern illuminated by electricity, whilst the 2014, was entirely candle light in the intimacy of the new Globe covered theatre.  Within both spaces the unnatural behavior between brothers and their sister where played out to their predetermined bitter end…  “in this twitching world of Webster’s whereeverything is enhanced and heightened to a morbid degree.  And the staging is so intense and the playingso powerful… that it actually seems not only credible but also natural,inevitable that people should carry on in this bizarre way.” (The Guardian 1981).

Dipping into my teenage memories I vividly feel the cold metal fear whilst witnessing the cruelty and impersonal violence meted out by Bosola as played by Bob Hoskins.

Why was he so deep and unfathomable?  How did this intelligent, moral man perform such cruel, immoral and destructive acts?  What was, I remember particularly chilling, was that he conveyed a visceral pleasure in his behavior and contradictory actions.  

These questions keep coming up as you watch the tragedy unfurl.  However to a 17th century audience the 'guilt' lies firmly with the Duchess.  What follows is a sequence of events and actions performed as retribution for her transgretion.

Through out the play the Duchess is being so judged by the other characters.  To Websters audience these judgements where plausible.  Antonio, who knows he should not, worships her virtue and beauty .... her look “speaketh so divine a continence, | As cuts off all lascivious, and vain hope.” To Ferdinand and the Cardingal she is ....  “loose, i’th’hilts: | Grown a notorious strumpet.” 

Cariola her maidservant, clearly loves her but does not understand her ...  "Whether the spirit of greatness, or of woman - Reign most in her, I know not, but it shows - A fearful madness: I owe her much of pity".

 

When I saw the latest production of the Duchess the memories of this remarkable performance came flooding back.  Again, it’s the Machiavellian character of Bosola that unsettles and unnerves me.  Why are humans so cruel and why do they seem to take so much pleasure in their cruelty?

Bob Hoskins and Helen Mirren back in 1981

Bob was an unconventional actor back in 1981 he could be found proping up the bar both before and after the performance.  Back in the dimly light space within the circle within the round, back in character as Bosola,the magic of his performance returned.  I’m sure he was completely oblivious to the fact that he had inadvertently removed the fourth wall for a young girl, or that his performance of Bosola was so good that it  has left such a deep impression on a developing mind to this present day - only to be rekindled by the 'Wannermaker' production.

The Sam Wannermaker theatre has created a treasure of a theatre where masterpieces such as the Duchess deserve to be produced.   Gemma glowed in the candlelight.  It would have taken a herculean effort on Bob’s part to act quite so malevolently towards her.  Gemma was the manifestation of virtue!  But he probably would have managed it.  Back in the space, in character real actors create the magic that we lesser mortals can only experience and remember in awe!