Cultural Dessert

In 1974 André Previn told Tom Stoppard that if he ever wanted to write something that needed a symphony orchestra, well he had one (the LSO). After some discussion they agreed to create a play involving an orchestra as one of the characters. ‘Every Good Boy Deserves Favour’ received its debut – a one-off performance at the Royal Festival Hall with the London Symphony Orchestra, conducted by Previn – in July 1977. The play is set in a Russian psychiatric hospital and tells the story of two men – one a political dissident incarcerated in the hospital, the other a real psychiatric patient who believes he has his own orchestra with him in the room. This leads to the juxtaposition of a serious condemnation of the abuse of psychiatry in the Soviet Union with a farce of misunderstanding and talking at crossed purposes. And, of course, we the audience can see the imaginary orchestra in the room performing Previn’s score – with the deluded patient playing the triangle (which in turn allows for a very Stoppardian dissection of Euclidian geometry!). I first came across this understandably rarely performed work nearly 20 years ago when I was working for the Royal National Institute for the Blind and we were asked to record the text for a visually impaired student. So I was familiar with the brilliant dialogue (the triangle player continually asks the political prisoner what instrument he plays, assuming he must have come to join the orchestra: at one point, after a few seconds thought, he asks “if I were to strike you over the head with your instrument, would you need a welder, a carpenter or a brain surgeon?”). But I had never seen the piece performed so I leapt at the chance to see the revival directed by Felix Barrett and Tom Morris currently playing at the National Theatre. Using the massive Olivier stage, Barrett and Morris have made ‘Every Good Boy Deserves Favour’ more theatrical and less of a concert hall piece. In this production the players of the Southbank Sinfonia are integrated into the action in a range of inventive and surprising ways. Toby Jones and Joseph Millson are great as the two patients but this is an ‘ensemble’ work in every sense of the word, with a cast of around 60 people. It only lasts just over an hour, without an interval, but it was one of the most exciting, entertaining and though-provoking theatrical experiences I’ve had for a long time. My understanding and enjoyment was enhanced by attending a pre-show talk: on most occasions when you go to the pre-show talk you find yourself amongst a handful of people sitting at the front of a large auditorium but on this occasion the enormous Olivier theatre was packed, with people standing at the back, to hear Tom Stoppard himself talking about the writing of ‘Every Good Boy Deserves Favour’. Stoppard is a thoughtful, careful speaker – self deprecating without false modesty – and it was fascinating to hear his insights into the creative process.

On Saturday we were at the South Bank Centre in London to hear everyone’s favourite folk big band, Bellowhead (reviewed here in October 2006 and July 2008), performing as part of the ‘Imagine’ children’s literature festival. This free performance in the huge Clore Ballroom space was great fun, slightly hampered by the fact that the set of bookshelves framing the stage meant that most of us couldn’t actually see the band. That didn’t stop us dancing while we craned our necks to see the Bellowhead heads appear above the bookshelves as the band themselves bounced up and down in time to the music – you can’t beat a band that dances to its own tunes. In a sort of English folk music ‘Mamma Mia’ a storyteller wove a fantastical tale to incorporate most of Bellowhead’s repertoire – with occasional vital contributions from the children in the audience (which resulted, for example, in the scary giant having purple hair and black fingers but wearing a ‘I love New York’ t-shirt!). An uplifting, inspiring performance from one of the best live acts of the moment – even when you can’t see them!