The Remains of the Day - Tour 2019

It could make a really great play. Isn’t the background of the story the pre-WW2 meeting to discuss Hitler, which ended in the policy of appeasement? Is my memory correct? If so, it could be a bit like Oslo, which was a hit last year.

Staggering choice for a play but then they can 'do' anything these days, can’t they? The book is right up there with the very best and the film was good, too fab leading roles.

I think this could be excellent. It's a wonderful film, and a superb book.

Writers shouldn’t be expected to be grateful for gaining employment that reflects their ability, it would be a sick industry if it had to resort to that sort of labour relationship.

Absolutely and I’d suggest that is the main reason why we’ve had the recent shocking revelations about how actors are treated in pursuit of a job. That, to me, means our focus should be on making sure it changes, as should the way we invest performers/writers as being privileged just because they get somewhere.

It's not a binary option. I have a job that I enjoy and am good at, but it would be just as weird for people to tell me I should be grateful to have it as it would be for me to go around boasting about having it. I know I'm fortunate to have a decent job in a messed up economy, but that doesn't mean I have to be grovelly and uncritical about it.

An adaptation is the best of all possible writing jobs - someone else has done the hard work for you. So, I suppose, one could be grateful for that.

I just looked back at my post and seen that I never once said that the writer should be “grateful”. So whoever started this please don’t put words in my mouth.

Well the phrase used was for him to appreciate that he is lucky which, as the dictionary tells me, is synonymous with “to be grateful for something”. Another version refers to “value, respect, prize, cherish, treasure, admire”, none of which I would be particularly happy with being told that I should feel about a job, or maybe the Universal Declaration of Human Rights is far too radical a document these days with its approach to employment.

A number of colleagues of mine were just made redundant. I’m not grateful that I wasn’t, I’m angry that they were. I can’t find it within myself to allow for short sighted incompetence to be met with gratitude.

YMMV

Maybe it’s a difference in approach. Having seen privilege, or the lack of it, from both sides I can’t see how anyone working their way through life by their own wits should be expected to feel that their job is granted to them. Having seen The Last Ship last night (very good, if flawed in parts), it was a salutary reminder of my own upbringing and of seeing how power breaks people. I see something of that in Norris’ words and felt that his refusing to remain silent was welcome.

I do disagree with the view that actors or whoever else involved in the arts are in any way lucky for it being their job, or at least any moreso than accountants, librarians, nurses etc.

So I feel that way because of who I am. We all bring our own experiences to the world and I fully understand how someone might feel differently.

From Whats On Stage -

Casting and the creative team have been announced for the upcoming world premiere of The Remains of the Day, based on the novel by Kazuo Ishiguro.

Leading the cast will be Stephen Boxer (Regeneration) as the butler Stevens and Niamh Cusack (Macbeth) as Kenton. They are joined by Stephen Critchlow, Pip Donaghy, Edward Franklin, Miles Richardson, Sadie Shimmin and Patrick Toomey.

The novel details the memories of a butler at an English stately home with truths that hide behind its manicured gardens and grand reception rooms. Christopher Haydon will direct the piece, which is adapted for the stage for the first time by Barney Norris. The production will be designed by Lily Arnold, with lighting by Mark Howland and sound design by Elena Peña.

Following its premiere at Royal and Derngate in February, the piece will run on a 10-week tour to visit Oxford Playhouse, Theatre Royal Bury St Edmunds, Salisbury Playhouse, Theatre Royal York, Yvonne Arnaud Theatre, Nuffield Southampton, Derby Theatre and Bristol Old Vic. It is a co production between Royal and Derngate, Out of Joint and Oxford Playhouse.

I was really hoping they would announce a Manchester or Liverpool date for this (even Birmingham at a push), but with the announced tour venues, I’m going to have to give this a miss I’m afraid.

I'm keeping an eye on this one as I could see it in Guildford & it wouldn't occur to me to change my mind on the basis of casting, but I'm waiting for reviews from the earlier tour venues. It's not selling that fast at Guildford & if I do still want to see it when the time comes, I'll aim for the seniors' deal which you can only book from the first Monday of the run. No strong feelings either way at this stage (years since I read the book/saw the film), but I do love a trip to Guildford.

I searched in vain for a thread on this but thought there was one so apologies if there is - someone please let me and the Mods know.

This is the trailer:  

"In 1930s England, Darlington Hall runs like clockwork under one of the last truly great butlers. Reserved and dutiful like his father before him and with the funny and forthright housekeeper Kenton by his side, Stevens faithfully serves his employer. Meanwhile, England stands on a precipice, as fascism builds and boils in Europe.



Twenty years later, Stevens travels to find an old friend, remembering choices made and not made, journeying to one last chance at happiness.



Now transformed into an exquisite stage play by one of Britain's most exciting writers Barney Norris, Nobel Prize-winner Kazuo Ishiguro’s novel, which became a beloved Merchant Ivory film, is a story for anyone who has ever been afraid to follow their heart.
"




The production is several weeks into its tour and receiving glowing reviews everywhere (link to example below) and having seen it in Guildford yesterday at a sold-out matinee, I would agree and recommend it, sombre and thought-provoking as it is, given that it deals with a live unlived and rueful recognition and regret when it is too late.  As with Maggie May, which I saw a few days earlier, the unexpected relevance to current events of the lines about politics provoked wry laughter.


www.britishtheatreguide.info/reviews/the-remains-of-yvonne-arnaud-t-17424