Tuning in…
Tuning in…
Castaway
1 appearance
Theatrical producer who championed modern British playwrights Mortimer, Orton, Stoppard, Aykebourne, and produced over 120 plays.
On the island
Eight records
a rather sentimental and soppy one, but it reminds me of an extremely happy childhood I had and every Friday night my father... used to play the mandolin to us and my mother used to sing... I'd like to have a record from him, Amapola
Symphony No. 1 in C major (last movement)Favourite
I saw a work which impressed me tremendously, which was Assembly Ball to the music of Bizet. And I found later that Bizet had written this symphony when he was seventeen, and it had never been performed until after his death in nineteen thirty five
Fred Astaire and Ginger Rogers
I think that would be a nice cheerful song to have on the desert island
Concerto for Mandolin, Strings and Organ in C major
I've chosen a Baroque piece which would remind me of Venice... to be sitting in the most beautiful drawing room in Europe listening to that would be a lovely thing to recollect on the desert island
the curtain up music was Gershwin's The Man I Love... played by Percy Granger... with instructions on how you play this, and it says the prominence of the top notes is facilitated by using stiff fingers, stiff wrists, and stiff arms
I've chosen something which I came to very late and that is new music... the music of Queen
I went to hear this woman, Barbara Cook... everything she sang seemed to me to be totally evocative... she can cater for all moods
I'd like a song that I could go la la la to... Roberta Flack and When You Smile
In conversation
Presenter asks
5:48How did you know that you wanted to become a theatrical producer?
I knew I didn't want to act or and I wasn't a good enough writer that I did a bit of writing, and I thought that if I'm going to fulfil myself in what I seem to enjoy, it had better be organising people and bringing talented people together.
Presenter asks
6:04What did your parents say when you told them you didn't want to go into the family business and wanted to work in theatre?
They were extremely supportive. My father was quite shocked at the beginning, and gave me a length of time in which to prove myself, and the first years were fairly blood spilling. And when I did show that I could do it, they were constant supports.
Presenter asks
8:24Where do you begin as a theatrical producer?
I think you had to begin with the script. But it all begins with that. I don't think anybody can [see it in their vision], really. That's the most difficult thing in the world, because sometimes a very good script turns out less good. And often one of the brilliant plays, when you read it hasn't seemed to be good, but has a magic that transforms it.
The keepsakes
The book
Alison Plowden
I'm rather obsessed by Carolina Brunswick. ... I collect anything to do with her. And it would be a very complete souvenir of of my hobby, if you like, my collection.
The luxury
a trunk load of jigsaws ... I really find a tremendous comfort and a boon
Presenter asks
11:36How important is the first night?
Well, I'm depressing news to tell you, but it is absolutely vital, and there's no way I think that we can get round it. I think what the critical reaction to a play is, or the kind of plays that I do, is all important.
Presenter asks
24:17Do you find that because of the nature of the work you fall out with people?
all the time, but hopefully one falls back again. I mean putting on a play is a kind of joint love affair, really. But occasionally you will fall out, yes.
Presenter asks
30:51Do you think your success is due to luck or inspiration?
I don't think it is inspiration. No, Jerome Kern said that if you're waiting for inspiration to light on your shoulder and gently poke cobwebs from your brain, you'd better change your profession. He said that you write about twenty tunes to get two good ones, and the waste paper basket yearns for the music. And that I think is a pretty accurate summing up of if you're in this business, what you've got to come to terms with.
“I think what the critical reaction to a play is, or the kind of plays that I do, is all important.”
“Yes, I absolutely love it. It's my only form of gambling.”
“It would be difficult to find a producer that still had a heart.”
“putting on a play is a kind of joint love affair, really.”
“If you're waiting for inspiration to light on your shoulder and gently poke cobwebs from your brain, you'd better change your profession.”