Posts Tagged ‘Romanticism’

The Crouch End Festival and Alfred de Musset

June 10, 2018

As anyone who read the post on Marivaux and last year’s Crouch End Festival piece, Corbyn Island, will know in adapting pieces I like to do some half-arsed research in the milieu of how the originals came about. And in contrast to Corbyn Island the update of A Door (Should be Open or Shut) is nevertheless a period piece rather than being located in contemporary Britain. Mid-century London wasn’t too much of a stretch for the update and fortunately the background and context for Musset’s play, Il Faut Qu’une Porte Soit Ouverte ou Fermée, was less unfamiliar to me if only because I’ve been something of a Delacroix obsessive for some time.*

Where’s the connection with Delacroix? Well, of course they’re both French Romantics though working in different disciplines, but the connection is much more personal than being inspired by the same mid-nineteenth century ideas. Delacroix was a great friend of the musician Frédéric Chopin and his lover, the writer Georges Sand. And Musset was previously a lover of Sand.

It was good to hear that Paul Kildea’s new book on Chopin’s Piano is in part concerned with recovering Sand’s reputation (in popular writing that is, it’s been a task undertaken with relish by feminist academics for decades) from its traducement by followers of Chopin (and Musset, especially his brother Paul) who have trashed her literary reputation largely out of unthinking misogyny.**

So as well as reading de Musset’s work I’ve been reading Delacroix’s diaries (an ongoing project over the past few years***, Sand’s memoirs and Paul de Musset’s (very) partial biography of his brother.

Props for 'A Door (Should be Open or Shut)

Props for A Door (Should be Open or Shut)

What did I take from this reading into the new production? Our production is set in 1940s Soho and when I realised that the production of Absolute Hell  would be using pretty much the same setting, and running at the same time as us, I was rather fearful that people would think that I’d been inspired by that. But in fact I was inspired by de Musset’s own life.

De Musset himself was a drinker. A serious drinker. As in he died of it. But this aspect of his life doesn’t bleed into the literary works that he created so I decided that to make the connection with his life I’d update the play from an aristocratic salon to somewhere more modern. Since we had a pub bar as a set it seemed natural that the setting I’d update it to would be one of London’s drinking clubs of the 1930s/40s.

Although there are references to Soho stalwarts such as Francis Bacon the model I was actually thinking of wasn’t the Colony Club. Rather I had in mind Foppa’s, which appears in A Dance to the Music of Time by Anthony Powell. So we’re more in 40s Fitzrovia than 50s Soho. To someone who never knew either in their prime Fitzrovia offers a rather more literary locus which looks back to the 19th Century (and de Musset) rather than forward to the late twentieth and Jeffrey Bernard. Although the female lead is an artist.

A fun part of the production has been assembling props – a 40s Woodbine astray, an old-fashioned bottle of scotch, a cigarette case and a whiff of 40s in the costume of the characters. And the cast – Anna Rogers, Matt Griffin and Ruari Johnson – have been extraordinarily successful at bringing Musset’s characters to life in a faux-Fitzrovian setting.

If you’ve read this far why not book a ticket now to see the show? You can visit the Crouch End Players website or email cepfestival@crouchendplayers.co.uk 

Thanks to Paul Travis for the photo of the props, and for other shots of the preview night.

#Theatre #London #crouchendfestival

* I’ve written about him before and I’m looking forward to visiting the blockbuster show of his work at the Louvre later this month.

**You can listen to an excellent podcast with Kildea here.

***i.e. the French unedited edition lies next to my bed. And has done for some time! The Phaidon edition in English is what I’d recommend if you want to read pretty much the best writer on art of the nineteenth century as well as one of its key practitioners.

Translating Musset

June 3, 2018

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After having had a pretty good experience producing Corbyn Island in 2017 I found myself in the dull gloom of January turning over ideas for the Crouch End Festival in 2018. Again, it being a Festival piece, I wanted something relatively short and preferably fewer characters than the Island. If I was going to be directing it myself (a new experience) I thought it’d be a lot easier with less traffic to manoeuvre on stage.

I’d seen a production of Alfred de Musset’s Il Faut Qu’une Porte Soit Ouverte ou Fermée in Paris the previous autumn in a production by the Comédie Française. A one act two-hander, it concerned itself with an on-off relationship between two French aristocrats at a Parisian salon in the 1840s. The CF had updated it to contemporary France, setting the actor in a sculptor’s studio, while retaining (naturellement!) the original language of Musset’s masterpiece.

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Musset’s Confession – a classic of romantic literature

Further research revealed that de Musset hadn’t written the piece with the intention of staging it at all – rather it was theatre de fauteuil, that is ‘armchair theatre’ written to be read as a literary piece like a novel or a short story. But it had become established as a classic of the French theatrical repertoire by the end of the twentieth century, produced every year by the Comédie Française to the extent that it was part of the social calendar in the early twentieth century.

However, post-World War Two it was performed much less frequently. Presumably the market for rom coms about brittle aristocrats was in decline in the age of Camus, the theatre of the absurd and existentialism. In fact I beleive that the production that we saw was the first at the Comédie Française for some forty years.

So my challenge was how to make it relevant to a Crouch End Festival audience. My initial instinct was to make the couple same sex but to wangle Musset’s text into the correct shape to do that proved beyond my translation abilities. I gave it a few hours of grappling on the commute to Leicester and then gave up.

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The tool’s of the translator’s craft – a biography, an autobiography and a Pléiade edition of the original. All that’s missing is the Chamber’s dictionary.

I then toyed with the idea of just translating de Musset’s original and staging it as a work of art. I would designate a chair in the Great Northern for people to read a printed translation of the play which they could borrow from the bar. But then if I was going to the trouble of translating the play (a much simpler business than tackling Marivaux, though with the peril of ruining the exquisite poetry of de Musset’s language) I did rather see it acted out.

So I needed to find some other way to create tension in the potential pairing (or not) of these two characters. And I think I came up with a good solution. But to find out what that solution was you’ll have to come along to the show!

But I can tell you that I updated the action to 1948 London, with the characters now meeting in a private club on a wet Sunday afternoon.* I’ve added a third character of a barman, played by Ruari Johnson. The female lead is taken by the director of Corbyn Island, Anna Rogers, and a newcomer, Matt Griffin, takes on the role of her suitor.

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Part of the fun of staging a period piece is assembling (and drinking) the props.

This year we’re producing the show as part of the Crouch End Players’ contribution to the Festival with our show running with an original piece of writing by Jen Richardson, The Road Not Taken, as part of a rom-com double bill. Running time will be around an hour in total with a break for drinks.

Performances are again in the upstairs bar of the Great Northern Railway Tavern, who have once more proved to be excellent hosts, and take place on 15th, 16th and 17th June 2018 at 7pm and tickets (which are FREE!) can be obtained by emailing crouchendplayers@hotmail.com. More details are also available at the Festival website.

It’ll be the perfect evening out for World Cup widows and widowers but if you are a football fan don’t worry, the Great Northern will have the games on the big screen in their back garden and the shows are timed to make sure that you miss very little of the action from Neymar and his chums!

#Theatre #Comedy #London

*Yes, I know this has shades of Absolute Hell! But our production has an entirely different sensibility.


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