Drawing: Rick Stein

Rick Stein

Combining two of my vices – drawing and watching cooking programmes on TV – I decided to draw a few of my favourite celebrity chefs. Rick Stein was the first. I sent this sketch to him at his flagship, The Seafood Restaurant in Padstow on the northern Cornish Coast and he sent it back quicker than you could boil a lobster.

He’s been on our TV screens for the past two decades with that happy laid-back demeanour. He also sells seafood by the seashore, and more. His empire includes The Seafood Restaurant, S Petroc’s Bistro, Rick Stein’s Café, Stein’s Fish & Chips, a cookery school, accommodation, a gift shop, a deli, a patisserie, a fishmongers and The Cornish Arms pub in nearby St Merryn… and no Rick Stein at Bannisters in Mollymook in NSW, Australia.

Rick has to be credited for single-handedly reviving the British seafood industry. Padstow is now a popular tourist destination. His impact on the local econmy has led some to call the once sleepy Cornish fishing village ‘Padstein’.

Drawing: Fiona Shaw in The Testament of Mary at The Barbican

Fiona Shaw

The Testament of Mary is a controversial play by Colm Tóbin based on his 2012 Man Booker Prize shortlisted novella of the same name and the play Testament, which was initially performed at the Dublin Theatre Festival in October 2011. It imagines a new account of Christ, one is which his mother Mary questions her son’s death, his divinity and the followers who called him the son of God.

Its short Broadway run in 2013 had militant Christians on the streets accusing it of blasphemy, though it still garnered three Tony nominations, including Best Play. Tony-nominee and four time Olivier-award-winning actress Fiona Shaw played Mary, directed by long time collaborator and Olivier-winner Deborah Warner. The production had its only UK performances at London’s Barbican, where Deborah is the Associate Director, in May 2014.

The play gives Mary a voice, since she is strangely silent in the Biblical text, in an 80 minute monologue. It powerfully captures the terrible grief of a disenchanted mother who has lost her son, first by fame and then by a terrible public death. One of the most potent moments is when Mary says, “when you say that he redeemed the world I will say it was not worth it, was not worth it.”

The production mesmerised audiences and critics alike on both sides of the Atlantic. The Telegraph’s Charles Spencer summed up the acclaim, “Shaw is magnificent thorughout.”

Drawing: Lucy Briggs-Owen and Tom Bateman in Shakespeare In Love at the Noel Coward Theatre

Shakespeare In Love

“I will have poetry in my life. And adventure. And love. Love above all.”

After six weeks of rehearsals and three weeks of previews, Shakespeare In Love opened at the Noel Coward Theatre in London last month, sixteen years after the original film version.

Featuring a company of 28 actors and musicians, this sweeping rom-com, based on the Oscar winning screenplay by Marc Norman and Tom Stoppard, has been adapted for the stage by Lee Hall, directed Declan Donnellan.

Shakespeare in forbidden love summarises the tale of a  promising new playwright, Will (Tom Bateman), short of cash with writer’s block and in desperate need of a new hit, finding his muse in passionate young noble woman Viola De Lesseps (Lucy Briggs-Owen) who inspires him to write Romeo and Juliet.

The play within a play (with music) opened to excellent reviews and is booking through to 25 October this year. There’s also a dog named Barney. He sometimes steals the show.

Drawing, Gina McKee in Richard III at Trafalgar Studios

Gina McKee

BAFTA winning British actress Gina McKee is currently starring opposite Martin Freeman in Richard III at London’s Trafalgar Studios. She made her Hampstead Theatre debut in early 2013 playing Viv alongside Anna Maxwell Martin and Tamzin Outhwaite in Amelia Bullmore’s comedy Di and Viv and Rose. It dealt with the vagaries of friendship among a group of co-habitating women – three students at a northern university in the early 1980s.

In 2010 she appeared as Goneril in King Lear at the Donmar Warehouse with Derek Jacobi and directed by Michael Grandage. She received an Olivier nomination for her performance.

This year she reunited with director Jamie Lloyd to play Queen Elizabeth in Richard III at the Trafalgar Studios, whre she signed my sketch this week. The play runs until 27 September 2014.

Drawing: Cherie Lunghi in The Importance of Being Earnest

cherie lunghi

British actress Cherie Lunghi is currently appearing in Oscar Wilde’s The Importance of Being Earnest at the Harold Pinter Theatre in London’s West End. In one of her biographical blurbs, Cherie was described as a ‘leading ingénue’ at the Royal Shakespeare Company in the late 70s. An ingénue is a stock character, typically beautiful, gentle, sweet, virginal and often naive – the usual foil to a vamp or a femme fatale. Her roles at the RSC included Perdita, Cordelia and Viola.

She then left to play Guinevere (probably more of a vamp) in John Boorman’s Excalibur (1981) and pursue a film and TV career.

At the Pinter she plays the conventional Victorian woman, Gwendolen Fairfax – Lady Bracknell’s sophisticated, intellectual, cosmopolitan and utterly pretentious daughter who is in love with Wilde’s protagonist, Jack, whom she knows as Earnest. It’s a name she is fixated upon and will not marry a man without that moniker that “inspires absolute confidence”. Ingénue or vamp? Or maybe a mixture of both. Either way, in real life she was most fun to meet and chatted with a handful of us at the stage door before Saturday’s matinée. I told her that sketching was one of my vices, and she said “it’s a vice you’re good at”.

Drawing: Sian Phillips in The Importance of Being Earnest at The Harold Pinter Theatre

Sian Philips

The ageless Siân Phillips made her Shakespeare Theatre Company debut as Oscar Wilde’s ‘dragon of propriety’ in The Importance of Being Earnest at the Lansburgh Theatre in Washington this year. It’s a role she is currently playing at the Harold Pinter Theatre in London’s West End. Well, in reality she plays a member of the amateur Burbury Company of Players rehearsing the role of Lady Bracknell.

She made her first appearance on the London stage in 1957 as a student, appearing in Hermann Sudermann’s Magda for RADA to critical acclaim. It provided the launching pad for her long and distinguished career, which has included Oliver and Tony nominations and a TV BAFTA win for Best Actress in I Claudius and How Green Was My Valley.

In his review for the Express, Neil Norman states, “Phillips is one of the Lady Bracknells I have ever seen, skirting caricature without embracing it, she encapsulates the low venality of the high born.

I based the drawing on one of Scott Suchman’s numerous publicity stills for the Washington Production. Unfortunately, it wasn’t one of Siân’s favourite shots.

“Oh, that’s from that bad photo of me.” I picked it because of the ‘expression’ which I though really captured the character – my explanation offered in mitigation and hope. But she was good humoured about it and signed and dedicated it for me on her way into last Saturday’s matinée.

Drawing: Ben Miles, Nathaniel Parker, Lydia Leonard and Paul Jesson in Wolf Hall / Bring Up The Bodies

Wolf Hall Bring Up The Bodies

After selling out its RSC premiere at Stratford, acclaimed productions of Hilary Mantel’s novels Wolf Hall and Bring Up The Bodies made their London transfer to the Aldwych Theatre in May. Both plays are running in repertory until September.

The double bill, adapted by dramatist Mike Poulton and directed by Jeremy Herrin, tell the compelling story of the political rise to power of Thomas Cromwell, in the court of Henry VIII. He was Britain’s original working class hero, according to the author.

The adaptions compress 1,246 pages of print into five and a half hours of stage time with the complex interactions of 70 characters, seven of whom are annoyingly called Thomas.

Hilary won the 2009 Man Booker Prize for Wolf Hall, and repeated the success with Bring Up The Bodies in 2012. They are the first two parts of Hilary’s projected trilogy of Henry’s fixer – the third, The Mirror and the Light is currently being written “at haste”, as you read this.

Ben Miles plays Cromwell, Lydia Leonard is Anne Boleyn, Nathaniel Parker as Henry VIII and Paul Jesson as Cardinal Wolsey.

Mark Lawson in The Guardian says: “English ecclesiastical reform was driven by the King’s soul as well as his penis… Henry’s succession needs gave an opening to Protestant plotters in his court.”

Drawing: The Inbetweeners

INBETWEENERS

The boys are back for their final instalment. The Inbetweeners 2 movie had its London Premiere at the Vue Cinema yesterday and the Rudge Park Comprehensive quartet of Will, Simon, Jay and Neil all attended masquerading as actors Simon Bird, Joe Thomas, James Buckley and Blake Harrison. After the award winning TV series and the first movie in 2011 the lads have reached cult status.

The quickest of quick sketches just to capture their likeness. It was a last minute decision to attend with half and hour to draw, race to the train, (which was cancelled), get the re-scheduled service which chugged into town. Made it to a public pen near the drop off point, six rows deep, thinking this is not a good idea. Getting one siggy, let alone four, looked like mission impossible. Minutes later a big black car arrives and all four slip out, doing the obligatory group photo, then move around the line. Blake slipped past first, and if it wasn’t for Robert (a fellow grapher) grabbing my sketch and hurtling himself to the front, accompanied by a shrill, “Blake Blake Blake!” I would have missed. A young guy in front of me wanted to high five them, so I said to him, “As you do that could you also point to this sketch,” which I conveniently held up next to him. It worked and I got all four – Simon even dedicated. Mission accomplished.

Drawing: Handbagged at the Vaudeville Theatre

handbagged

Undoubtably one of the theatrical highlights of the past year was Handbagged, Moira Buffin’s latest play tells the tales of the Queen’s weekly meetings with Margaret Thatcher. Premiering at the Tricycle Theatre in October 2013, the sold out run won an Olivier Award and transferred to the West End. It was commissioned by the Tricycles new artistic director Indu Rubasingham.

The play arrived at the Vaudeville Theatre with the cast more or less in tact; only Clare Holman was substituted as the younger monarch by Lucy Robinson. As the slogan stated “Liz. Maggie. Tea at four. Handbags at dawn.”

Two enduring icons of the 20th Century, born six months apart – what did the world’s most powerful women talk about? It’s a shrews piece that cleverly explores what might have gone on behind closed doors.

The play’s runaway success, and unanimous critical acclaim, depended in large on the brilliant performances of its four actresses who play older and younger versions of the two leaders. Marion Bailey is the older monarch sitting in judgement of her younger self, and the older Maggie played by Stella Gonet looks back on the woman that she was in office “embodied with all her mannerisms down to a T” by Fenella Woolgar. As The Telegraph’s Tim Walker stated in his five star review, “only a director of Indhu Rubasingham’s sensitivity could cope with the gear changes that shift the action form slapstick to moments of unbearable pathos.”

All four kindly singed my sketch in the final week, as the play completed its Vaudeville run on Saturday 2 August.

Drawing: Nigel Havers in The Importance of Being Earnest at the Harold Pinter Theatre

Nigel Havers

The quintessential English charmer, Nigel Havers is 62, and returns to a role he played at 26 in Oscar Wilde’s classic farce The Importance of Being Earnest at the Harold Pinter Theatre in London. Wilde’s masterpiece has some additional material added by Simon Brett as a framing device to enable older actors to play younger roles.

Nigel originally player Algernon Moncrieff in Peter Hall’s 1982 production at the National alongside Martin Jarvis, who also reprises his role as Jack Worthing.

The latest re-imagining revolves around The Bunbury Company of Players, an amateur troupe of veteran thesps performing a dress rehearsal. In one of the added lines, someone suggests that the ageing roué is not really an actor, Nigel’s character quips, “that’s true of so many who make a living at it.” And he has made a good fist of it over a 30 year career playing smoothies, gentlemen and cads, in such films as A Passage to India, Empire of the Sun and Chariots of Fire, plus a string of small screen roles – his latest being the charismatic con-artist Lewis Archer in Corrie.

Nigel is always on the go. On the number of occasions our paths have crossed he has definitely taken the fast lane. But, he always has time to sign. Just as well he has a swift siggy to complement his famous charm.