012 – Footnotes 1
This episode is a selection of the Footnotes that we’ve compiled during the research and conversations that we’ve had so far on the podcast. It is a recorded smorgasbord of fragments, with titbits of information in the best tradition of footnotes, as well as additional observations of my own on each play. So if you’re interested in:
- How many copies of A Doll’s House were sold when it was first published
- Who Tennessee Williams chose as his favourite writer(s)
- What Samuel Beckett thought of the Lord Chamberlain
- Why lipstick is important to the mothers of Aberfan
- Where Shakespeare’s real life inspiration for The Tempest came from
- The significance of the island of Torcello to Robert and Emma in Pinter’s Betrayal
- How an Icelandic volcano lay behind Duncan Macmillan’s meditations about climate change in Lungs
- Why Peggy Ashcroft felt naked as Hester Collyer in The Deep Blue Sea
- How going to work on an egg might turn you into a footballer rather than a famous cook
- What the “beholders’ share” is, or
- Where the “pesto triangle” is
among many other trivial and profound footnotes, join me for our ragbag review of the plays that we’ve talked about over the past eleven episodes.
PS You are of course also welcome to read the full set of Footnotes for each episode here on the website.
Suggest a play
We’re always open to suggestions about plays to talk about, so if you’d like us to discuss a favourite of yours, please email us at email@example.com. Let us know why you think we should cover it, and if you know anyone who’d be excited and qualified to talk about it with us (even yourself if modesty permits!).
You might also be interested in …
Tom Stoppard’s ambitious new play Leopoldstadt is a sweeping work of history and ideas which charts the diaspora and decline of an Austrian Jewish family through the convulsive events of the first half of the twentieth century. It addresses profound moral questions of identity, memory and prejudice that are insistently relevant in our time. It is not only a towering intellectual achievement, it is also very personally poignant because it is based partly on Stoppard’s own remarkable family history.
Leopoldstadt opened in the West End in January 2020, only to be closed prematurely by the pandemic a few weeks later. Happily it has returned to the London stage this Autumn, and I am privileged and delighted to talk in this episode with the director of the London productions, playwright Patrick Marber.
Footnotes Volume 3 is a recording of the facts and observations that we’ve published on the website to supplement the plays that we’ve covered in episodes 24-31. A smorgasbord of trivia and analysis ranging from Greek Tragedy to the stock characters of Commedia dell’Arte , through the music of Bob Dylan, the filming of Caryl Churchill’s Escaped Alone during lockdown, and the theatrical installations of Samuel Beckett.
A compendium of dramatic intelligence!
Samuel Beckett’s third great dramatic masterpiece Happy Days is a timeless exploration of existential threat and personal survival. It’s central image of Winnie buried in a mound of scorched earth also speaks to our own time when many have endured enforced confinement in a world struck by collective disaster.
Irish actress and Beckett scholar Lisa Dwan, fresh from her triumphant performance as Winnie at the Riverside Studios in London, joins us to share her unique experience of playing Beckett and this majestic play.
Before the theatres went dark this month I was lucky enough to see Caryl Churchill’s A Number at the Bridge, and spend more than seven hours in thrall to Robert Lepage’s Seven Streams of the River Ota at the National. Plus, some thoughts on what we miss when there is no theatre.
Another great mix of shows this month, from Tom Stoppard’s new play, to Ibsen, Beckett and newer plays in smaller London venues.
The January roundup included both classic plays, such as The Duchess of Malfi, Uncle Vanya and Three Sisters, as well as recent musicals Dear Evan Hansen and Girl from the North Country …