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‘A magnificently readable tour of theatrical history conducted by our best-informed living critic.’ Michael Billington
From 458 BC and the first performance of Aeschylus’ Oresteia on an Athenian hillside, to 2009 AD and Jez Butterworth’s astonishing Jerusalem at London’s Royal Court Theatre, here is an expert guide to the seminal, pivotal, and transcendent moments in theatre history.
‘Benedict is one of the freshest and most vivid writers on theatre.’ Janet Suzman
‘Benedict has been the leading theatre critic of his generation and has written for The Times for twenty years, setting the standard by which the great performances and productions are judged. People onstage, backstage and in the audience have come to trust his every observation and judgement delivered with style, humour and passion.’ James Harding, Editor, The Times
‘Benedict Nightingale’s characteristically witty, insightful and enthusiastic reports make you wish you’d been sitting next to him during his greatest moments in the theatre.’ Ian McKellen
‘I’ve known Benedict Nightingale for more than fifty years over which time he has become one of the Theatre’s most distinguished and influential commentators. He writes with style, perspective and wit, and with a deep knowledge of his subject. In turn he is greatly admired by the theatre profession and, as importantly, by his readers and the audiences who trust the fairness of his opinions.’ Sir Peter Hall
- Sales Rank: #1470147 in eBooks
- Published on: 2012-11-01
- Released on: 2012-11-01
- Format: Kindle eBook
Review
"A lively book... a convincing argument for the importance of a long life in theater criticism....In capturing the thrill of seeing a theatrical event, Mr. Nightingale writes like someone who doesn’t just have a responsibility to his readers but also (in an unconventional way) to history." -- New York Times
"Benedict Nightingale's characteristically witty, insightful and enthusiastic reports make you wish you'd been sitting next to him during his greatest moments in the theatre." -- Ian McKellen
"A magnificently readable tour of theatrical history conducted by our best-informed living critic." -- Michael Billington, Guardian
"I've known Benedict Nightingale for more than fifty years over which time he has become one of the Theatre's most distinguished and influential commentators. He writes with style, perspective and wit, and with a deep knowledge of his subject. In turn he is greatly admired by the theatre profession and, as importantly, by his readers and the audiences who trust the fairness of his opinions." --Sir Peter Hall
"Gloriously readable and vivid... painstakingly researched... It is the perfect stocking filler for all drama buffs." Stage
"Nightingale is erudite, affable and has a deep knowledge and love of his subject. That becomes apparent early on in this delightful collection of essays
always smooth and readable, it is great to have the chance to share the enjoyment of a man who knows so much about theatre
should be on the reading and gift lists of everybody with any kind of love for the stage." British Theatre Guide
About the Author
Benedict Nightingale was the Guardian’s northern theatre critic, the New Statesman’s theatre critic, the New York Times’ Sunday theatre critic and, from 1990 to 2010, the London Times’ chief theatre critic during a period widely acknowledged to be as productive and exciting as any in theatrical history.
Most helpful customer reviews
2 of 2 people found the following review helpful.
"Theatre: A gymnasium in which we can rediscover and exercise that underused muscle: the imagination."*
By Sharon Isch
Benedict Nightingale is a terrifically entertaining writer, best known for his 20 years as theatre critic for the London Times, who also spent a year in the '80s writing about theater for the New York Times.
He kicks off this collection of essays--most of them running just 2 or 3 pages--with the Athens of 458 BC and Aeschylus's trilogy of tragedies known as "The Oresteia." Next up: London's Globe Theatre in 1601 and Richard Burbage's "Hamlet." He winds up a little over 200 pages later with Jez Butterworth's 2009 "Jerusalem."
In the 200+ pages in between we'll learn: Why "Twang!!!" gets his nomination for the most memorably awful musical he's ever reviewed...and why 1982's "Noises Off" is still the funniest farce of this era...what made Peter O'Toole's Macbeth at the Old Vic in 1980 such a fiasco...and why he labels Sondheim "the bard of emotional ambivalence"... and regards Paul Scofield as the greatest actor of his lifetime. He describes "Hair" as "an attempt to evoke a counter-culture whose hope was to stop a Vietnam War in which "white men are sending black men to fight yellow men in defense of a country stolen from red men." And he remembers an especially magical moment on Broadway in 1984: the sounds of sniffing, gulping, suppressed sobbing from a rapt Broadway audience as Dustin Hoffman's Willy Loman and John Malkovich as Willy's son Biff hugged each other for the first and last time in Arthur Miller's "Death of a Salesman."
And then there are those dreadful opening nights that did spectacular turnarounds. For example, the 1955 London premiere of "Waiting for Godot" which started out with waves of hostility in the stalls, followed by a mass exodus, but then went on to win a National Theatre poll as the twentieth century's most important play....And the 1943 Broadway premiere of "Oklahoma," which Producer Mike Todd dismissed as "No gags, no gals, no chance,"....and the 1985 London premiere of "Les Miserables" which one London critic wrote off as "A load of sentimental old tosh" and another summed up as "You have to go through an awful lot to get very little." Little did they know!
Lots of good reading here. Highly recommended for everyone who loves theater (as we spell it) and theatre (as the Brits do.)
*quoted from Nightingale's introduction
0 of 0 people found the following review helpful.
Opening Night
By Chadwick Henley Essex
A great art form produces great critics; a minor art form produces hacks. Here a former critic for The Times takes us to 103 opening nights from the THE ORESTEIA in Athens, April 458 B. C. to JERUSALEM in London, July 2009. Of special interest to those of the American persuasion are his takes on THE GLASS MENAGERIE in Chicago, December 1944; LONG DAY'S JOURNEY INTO NIGHT in New York, November 1956; GLENGARRY GLEN ROSS in London, September 1983.
0 of 0 people found the following review helpful.
FILLING A GAP
By peter lewis
This a a comprehensive survey of the opening performances of outstanding plays in the repertoire from ancient Greek authors to contemporary English and American playwrights. This has not been done before. Though well researched the writing is not in the least academic, thank heavens, Nightingale gives vivid impressions of what it was like to be there when dealing with his own era. I can vouch for his accuracy as on many occasions I was there myself as a fellow critic. Triumphs and disasters both get fair judgement and vividly entertaining description. Peter Lewis
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