Curtain Call’s Exclusive Backstage Photography

Our good friends at Curtain Call took some stunning backstage photography of our recent YV productions and we’re excited to share some of the photos with you.
Curtain Call was founded by John Schwab and Matt Humphrey and together they are producing a book that will feature exclusive backstage photography of shows throughout London theatre from a unique perspective.

Take a look below for a glimpse into the unseen and intimate moments from some of your favourite shows.

A View from the Bridge – West End

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Emun Elliott & Mark Strong in A View from the Bridge at Wyndham’s Theatre.

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Mark Strong in A View from the Bridge at Wyndham’s Theatre.

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Phoebe Fox & Nicola Walker in A View from the Bridge at Wyndham’s Theatre.

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Luke Norris in A View from the Bridge at Wyndham’s Theatre.

Happy Days

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Juliet Stevenson (centre) in Happy Days at the Young Vic.

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David Beames in Happy Days at the Young Vic.

Ah, Wilderness! 

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George MacKay in Ah, Wilderness! at the Young Vic.

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Susannah Wise in Ah, Wilderness! at the Young Vic.

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Janie Dee in Ah, Wilderness! at the Young Vic.

Head over to www.curtaincallonline.com to see more of their work.

Turning a Little Further – Two Boroughs at the Young Vic

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The Company of Turning a Little Further at the Young Vic. All photos by Helen Murray.

‘Imagine a woman up to her neck’
Samuel Beckett’s Happy Days did just that. But where would this woman go if she could move? What would this woman do if she was able to escape? Who is this woman if she is not Winnie?

Two Boroughs at the Young Vic stages two community shows a year. Working with a full, professional creative and production team we put the show on in one of our theatre spaces with a cast made up of local individual and community groups. Each piece is inspired by something we have running concurrently in the Main House, so that our shows in Taking Part are integral to the programming of the building.

Happy Days, on at the start of this year, felt to us like one woman’s story – so we wanted to use it as a starting point to tell more stories, of more women. Of women who, like Winnie, find themselves defined by something outside of their control. Women who chose to care for others when that meant their world shrank around them. The rubble piled higher. Up to the neck.20150430_3410

We engaged two groups of unpaid, female carers, one from each of our two boroughs of Lambeth and Southwark. With them we created movement and text which enabled us to imagine freedom and escape, and to describe the daily realities of life for these extraordinary, ordinary women. All of the movement was improvised by the cast which also included twelve local women who auditioned to be part of a core movement group, in sessions led by Coral Messam, whilst the text was generated by exercises led by performance poet Francesca Beard. The show was brought together into a joyous whole by director Laura Keefe.

For the carers, coming to rehearsals every week and juggling their responsibilities with our sessions has been an ongoing negotiation. We have been meeting the two carers groups for four months, getting to know these amazing women with an often forgotten role in our society. They save the UK government approximately £119 billion a year – that’s almost as much as the entire NHS budget. Their carer’s allowance is £61.35 per week. On the eve of this uncertain general election we wanted to say something about the lives of these women who are affected, daily, by those in power but who are invisible except to those relying on them every hour of every day. No one knows them when they walk past on the street.

20150430_3629We felt that the sessions themselves needed to be joyful – to be a respite – and we hope we translated that to the stage. If it is theatre’s job to tell the stories of a society, to tell us our stories of ourselves, then we wanted to tell those stories that we do not hear, do not know exist. We have not given anyone a voice, we have simply allowed those voices to be heard.

Some women had circumstances too complicated to allow them to perform, some developed health complications of their own, but we are grateful for their words. It has been a joy and a privilege creating this piece with these women. Every story told on stage was true. Every woman stood with many more behind her. This show was for all those women, keeping the world turning, one day at a time.

Lily Einhorn (Two Boroughs Projects Manager)

For more information about Taking Part, go to www.youngvic.org/taking-part.

A Note on the Visual Imagery of Happy Days by Beckett Biographer Jim Knowlson

Author’s note: The material here is presented in the form of a personal investigation rather than as a formal scholarly article in order to concentrate as much on the emergence of the evidence and its plausibility as on any claim itself, leaving it to the reader to decide how convincing that evidence is.

I was recently invited to contribute a ‘text revisited’ chapter to a Festschrift for a friend and proposed an essay entitled ‘Samuel Beckett’s Happy Days revisited’. This essay, due to appear in January 2012, published by Peter Lang, considers the role of music, song and poetry in the play (e.g. Yellen and Alger’s 1929 song, Thomas Moore’s Irish Melodies and the unlikely medley of W. B. Yeats and Jerome Kern), its links with the visual arts and with philosophy and psychoanalysis, especially in the light of Beckett’s various 1930s notes. I also drew on certain of Beckett’s life experiences at that time, uncovered while researching my biography and suggested other literary sources of inspiration found in letters, some of which have only recently become accessible.

NPG P917; Frances Day (Frances Victoria Schenk) by Angus McBean

Photograph of Frances Day for The Fleet’s Lit Up by Angus McBean (1938).

Looking at Happy Days again (after, in my case, a gap of almost thirty years), led me to focus attention on the startling visual images of Winnie, buried first up to her waist, then up her neck in the mound, and of her companion Willie, first seen in his boater with a club ribbon, then in a top hat and morning suit. Was there anything new to be discovered about the potential sources of inspiration for these images?

Let me first recapitulate what we already know about the play visually – or at least what we think we know. First, Dante: the Divina Commedia was, of course, one of Beckett’s favourite books in the whole of European literature and, in his magnificent illustrations to the Inferno, Gustave Doré memorably depicted Dante’s Damned with their heads or lower limbs protruding from the frozen lake or the ‘livid stone’. There are indications within the play that such a highly graphic, visual evocation of Hell may well have played a part in Beckett’s initial inspiration. But evidence has also come to light of Beckett’s interest in and close knowledge of modern movements in painting like German Expressionism and Surrealism, although he was much keener on the first than he was on the second. I therefore explored some affinities with modern painting in the light of Beckett’s German diaries. In addition, I noted that the closing frames of Buñuel and Dalí’s 1929 film Un chien andalou, with its image of two women buried up to their waists on the beach, had often been cited by scholars (including myself) as a potential source for Winnie’s progressive burial in the earth.

From my biography of Beckett, I included as a further possible source the photograph by Angus McBean taken to advertise the 1938 review The Fleet’s Lit Up of the actress Frances Day, buried in sand in a basket and, like Winnie, holding a lock of hair in her hand (with another unseen person holding up a mirror in his or her hand). The resemblances are striking. What has not been pointed out, however, is that Angus McBean used the same ‘half-buried in the earth’ motif in two other photographs: one of the British actress Flora Robson (also taken in 1938), with her bust again apparently bursting out of the earth, and one of gamine film-star Audrey Hepburn, photographed yet again, but in 1951, emerging from the sand, flanked by two classical pillars. So far, one might say, a moderately interesting ‘addition to company’ but nothing to get too excited about.

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Max Ernst Projet Pour un Monument à W. C. Fields

But recently an additional possible source of visual inspiration has emerged that I mentioned in the ‘Happy Days revisited’ essay only in two brief sentences and without any of the supporting evidence. In Charlotte, North Carolina (where two of our three children live with their families), the Bechtler Museum of Modern Art, designed by Mario Botta, the architect of the MoMA in San Francisco, was built especially in 2009 to house the fine 20th century art collection of the Zurich industrialist Hans C. Bechtler (1904-1998) and his wife Bessie. It was gifted to the city of Charlotte by their son Andreas Bechtler and was opened to the public on 2 January 2010.

Shortly after the museum opened, I visited it twice. Walking round the gallery for the first time, I was astonished to see a remarkable, vividly coloured, kaleidoscopic oil painting by Max Ernst entitled Projet pour un monument à W. C. Fields, which appeared to bear striking resemblances to Samuel Beckett’s play Happy Days. In the centre of the painting is a female figure, painted as a rotund, buxom torso in red, wearing an ornate hat and holding aloft an unfurled, multi-coloured parasol. The woman, as the accompanying audio guide explained, is based on the celebrated film actress Mae West. The right foreground is almost dominated by the large head of a male figure, wearing a top hat and reaching out his hand. The male head, the audio guide went on, is that of the comic actor W. C. Fields and the painting had apparently been inspired by the (unique) collaboration of Fields and Mae West on a 1940 Universal Studios’ film called My Little Chickadee. In English, the painting is known, in fact, as ‘Homage to W. C. Fields and his Little Chickadee’, although, for reasons that will become clear, it has been reproduced in relatively few books on Ernst.

Intrigued by the unusual light-filled setting of Happy Days and its internal preoccupation with the element of fire, it was the brightness of the colours of the painting, especially its fiery reds that also struck me forcibly. One aspect of the painting, dissimilar, it might appear, to Beckett’s play, was the presence of a small face looking on quizzically from the far left and echoing in its colours the large hatted head on the right. Was this a surrogate for the painter himself or for the observing spectator? Even here one is reminded though of the presence within Beckett’s text of the Shower and Cooker visitors, who, as Beckett himself commented very precisely, represented the spectator (SB, letter to Jacoba van Velde, 28 Feb. 1962), as well as the constant repetition of the motif of an observing eye: ‘Someone is looking at me still . . . Eyes on my eyes.’  Yet, in recognising various parallels between Ernst’s painting and Beckett’s play, I was concerned that I might be seeing what I wanted to see, the victim perhaps of what could be termed professional deformation.

Was there any connection between the play and the painting? And which came first, painting or play? The second of these questions was quickly answered, since the date of 1957 is inscribed with the artist’s signature on the canvas itself, printed on its gallery description and on a reproduction that I promptly purchased from the gallery shop. And we know, of course, that Beckett’s play was written in 1960-61. But when did Hans Bechtler purchase the picture for his private collection? And might Beckett have seen it in Paris before or even after it was purchased? In a general way, there were a sufficient number of personal links between Beckett and Ernst for Beckett not only to have been aware of Ernst as a powerful Surrealist presence (he refers to him, for instance, along with Hans Arp in 1937 in the fourth of his German diaries) but also to have taken an interest in his work. The German painter had after all briefly been married to Peggy Guggenheim, with whom Beckett had had a passionate sexual affair in late 1937 and early 1938, and, following a meeting between them in 1967 arranged by Werner Spies, a good friend of Max Ernst and a specialist on his work, Ernst went on to illustrate a trilingual edition of Beckett’s From an abandoned work. (See my note in The Beckett Circle, Spring 2008, vol. 31, no. 1)

An e-mail query next to the Bechtler Museum elicited the helpful information that Hans Bechtler had in fact purchased the painting in 1958. This was a little discouraging at first since it made it more difficult for Beckett to have seen the picture, since it had been held in a private collection from 1958 until 2010. But then, later the same day, a key piece of the jigsaw came in the form of a postscript from Hallie Ringle, a young researcher at the Bechtler Mueum who was looking into my queries, saying that the picture in question was reproduced in Patrick Waldberg’s 450 page biography of Max Ernst.

Now it is at a moment like this that a scholar’s antennae begin to twitch uncontrollably! For since I happened to know that Patrick Waldberg was a personal friend of Beckett, dining and playing billiards with him on many occasions, this was exciting news indeed. I also happen to possess copies of some of Beckett’s letters to Waldberg, which are preserved in the Bibliothèque Jacques Doucet in Paris.

A few days spent searching through these and other correspondences established that Beckett was indeed seeing Waldberg at the time he was writing his Max Ernst biography, meeting him either alone or with his second wife Liane for dinner early in 1958 and seeing him once in the company of Marcel Duchamp, probably on 26 June 1958. (SB, letter to Patrick Waldberg 13 June 1958). About that time Beckett also read several of Waldberg’s other books and it is clear that the art critic sent him complimentary copies of them, one being his Promenoir à Paris which Beckett read in only one session at the beginning of October 1960 (SB, letter to Waldberg , 5 Oct. 1960), just as he was starting to write Happy Days. Another was Waldberg’s 1961 book Mains et merveilles. Peintres et sculpteurs de notre temps which Beckett read in February 1962, before sending it on as a gift to Kay Boyle (SB, letter to Kay Boyle, 22 Jan. 1962).

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Patrick Waldberg and Max Ernst c. 1955

The link (if indeed there is such a link) would appear then to be with Waldberg’s biography of Max Ernst, which was published by Jean-Jacques Pauvert in December 1958. There, indeed, the ‘W. C. Fields’ painting is printed, but in black and white not colour, in the sixth and final section of the book, entitled ‘Suite sans Fin’, perhaps as a tribute to Beckett’s post-war story ‘La Fin’, first called and printed in Les Temps modernes as ‘Suite’!  In view of my previous comments on the intense, fiery nature of the colours of the original painting, the black and white character of the reproduction was initially disappointing. Yet the outlines of the two figures are much more sharply delineated in black and white than they are in the more kaleidoscopic painting. Interestingly too, in the same section there is another painting of the top-hatted head of W. C. Fields alone (pace Willie) also painted in 1957, which was owned by Patrick Waldberg. We cannot be certain that Beckett had his own copy of Waldberg’s handsome first biography of Max Ernst. There was no such copy in his library when he died. But then neither were there other books by Waldberg that we know for certain from the correspondence that Beckett both owned and read. He gave away hundreds of books, especially towards the end of his life.

However, I also learned from Werner Spies’ Max Ernst A Retrospective that to celebrate the publication of Waldberg’s biography of Ernst an exhibition of the painter’s work had been arranged at La Hune bookshop on the Boulevard Saint-Germain. I have not yet been able to establish whether the W. C. Fields painting was indeed exhibited there. But, even if Beckett had not been able to see it at an exhibition, it would have been surprising if Waldberg had not discussed the most recent of Ernst’s pictures with Beckett or shown him some of the illustrations from his biography of the painter during their multiple meetings in 1958. And we can almost guarantee that Beckett would have called at La Hune and have studied the book there.

So, even if he did not possess his own copy – which, in view of Waldberg’s habit of giving him copies, I still find highly likely – the odds are surely very high that he would have been acquainted with this particular painting, either through an exhibition or in the biography itself. Although the evidence remains circumstantial, it seems to me to be sufficiently convincing to establish at least a possible visual influence on Beckett as he came to imagine the appearance of the two figures in Happy Days.*

– Jim Knowlson

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* I am most grateful to Werner Spies, Anne Arikha and Shannon White and Hallie Ringle of the Bechtler Museum of Modern Art for answering my queries and to John Pilling, Matthew Feldman and David Addyman for reading early versions of this note.

Happy Days runs at the Young Vic until 21 Mar. Click here to book now.

Happy Days set-build

Ever wondered what it takes to build a set as epic as Vicki Mortimer’s for Happy Days? Take a look at our mini-vid..

The 5 star hit returns with Juliet Stevenson in Samuel Beckett’s surreal masterpiece, directed by Natalie Abrahami.
Trapped in a scorched wasteland with her detached husband, Winnie keeps despair at bay with ritual, song and her trusty lipstick. But is our buoyant, hopeful heroine in denial of her ever-diminishing world?

Juliet Stevenson as Winnie in Happy Days at the Young Vic. Photo by Johan Persson.

Photo by Johan Persson.

Happy Days runs at the Young Vic until 21 March. Book now.

Just announced: 2 New Young Vic Shorts featuring Gillian Anderson & Juliet Stevenson

Today we are pleased to premiere the latest Young Vic short, MAYDAY, starring Juliet Stevenson, and announce Gillian Anderson’s upcoming short film The Departure, written by Andrew O’Hagan, directed by and starring Gillian Anderson.

MAYDAY was inspired by Natalie Abrahami’s production of Samuel Beckett’s Happy Days at the Young Vic, which will return to the Main House stage from 13 February 2015.  The short film stars Juliet Stevenson with appearances from David Beames and Tanya Moodie and glimpses the life of one resilient woman, fighting to “keep up the glamour” as she descends into ever increasing isolation.  Both Stevenson and Beames will return to the Young Vic in next year’s Happy Days revival.

MAYDAY
Written by Nancy Harris
Directed by Natalie Abrahami
Starring Juliet Stevenson

Want more? Watch the making of documentary featuring exclusive footage and interviews with Juliet Stevenson and Natalie Abrahami.

The Departure is inspired by Benedict Andrews’ hugely successful production of A Streetcar Named Desire which played at the Young Vic 23 July – 19 September 2014. Gillian Anderson received much praise for her performance as Blanche Du Bois, a role she will reprise in the film.  She said “The Departure imagines the circumstances leading up to Blanche arriving at her sister’s house in New Orleans, a sort of prequel to Tennessee Williams’ great play. I am thrilled that, with the support of the Young Vic, Andrew and I have had the opportunity to delve further into the life of this iconic character and create something which can be seen by audiences across the globe.”

The Departure also features Bruce Alexander, Suzanne Bertish and Rollo Skinner and will be available on the Guardian and Young Vic websites in the near future. Take a look at the stunning behind the scenes images from the film shoot here.

The Departure

Photo by David Sandison

The Departure
A film by Gillian Anderson
Written by Andrew O’Hagan
Directed by Gillian Anderson

Young Vic Shorts are a series of short films inspired by Young Vic productions. They offer artists working with the theatre a unique creative opportunity to reach a large international audience online. The most recent Young Vic short was Columbite Tantalite, written and directed by Chiwetel Ejiofor and inspired by Aimé Césaire’s masterpiece A Season in the Congo.

11 Questions with the cast of Happy Days – Juliet Stevenson

Juliet Stevenson as Winnie in Happy Days. Photo by Johan Persson.

‘Juliet Stevenson lights up the role of Winnie’ (★★★★ The Observer) in Samuel Beckett’s Happy Days. She took a little time out from being buried in her mound to answer our 11 Questions

Can you describe your character Winnnie in Happy Days in three words? Indomitable, lonely, resourceful.  But equally – desperate, funny, optimistic… I am cheating because 3 words don’t do her justice.

What are you usually doing 10 minutes before the show begins? On this show I am pre-set, sleeping in my mound,  so ten minutes before the performance begins I am usually clambering up into the set, before taking my ten minute pre-show kip. Not really asleep of course – doing leg and foot stretch exercises underneath the set to keep the circulation going while I wait for the start….

What is your favourite play (seen, read or worked on)? Impossible question! Too many contenders… A Dolls House, Yerma, Measure for Measure would be among my favourites worked on… Oh, and Happy Days is right up there now….

What is your favourite midnight snack? Nutella.

What is your favourite word? Another impossible one! Cantankerous, melancholy, effervescent… among many others. Come to think about it, this might double as the answer to question number 1.

What are you most passionate about? Probably the welfare of children – my own and the world’s.

If days were 28 hours long, what would you do with the 4 extra hours? Read. I never have the time I would love to have for reading for my own pleasure.

If you could be in a room full of any one thing, what would it be?Books.

Favourite holiday you’ve ever been on? With my partner Hugh and the children, exploring North Eastern Australia, travelling up the coast and into the rainforest, fishing on the Daintree River, snorkeling on the Great Barrier Reef – every moment of it was magical.

Favourite city and why? A toss up between London, Paris and Vancouver. Prague and New York also big contenders.

If you could have any one supernatural power which would you choose and why? I  would say the power to restore life, but unless I kept it mightily secret I imagine I would be overwhelmed by demands to use it. So let’s settle for flight.

Happy Days returns to the Young Vic on 13 Feb 2015. Call 020 7922 2922 or click here to book now.

5 stars for Happy Days

Juliet Stevenson as Winnie in Happy Days. Photo by Johan Persson.

The reviews are in for Happy Days. Read below to find out what the critics think and click here to see what audiences have been saying about the show.

★★★★★
“A masterpiece… Mesmerising.”
The Daily Telegraph – Read the full review here.

★★★★★
“Triumphant”
Mail on Sunday

★★★★
“I left the theatre walking on air… an evening to cherish.”
The Times

★★★★
“Magnetic… A startling new production”
The Guardian – Read the full review here.

★★★★
Juliet Stevenson is magnificent.
The Independent 

★★★★
“Juliet Stevenson at her finest.”
Metro – Read the full review here.

★★★★
“Utterly devastating…  A triumph.”
Time Out – Read the full review here.

★★★★
“Happy days indeed”
Financial Times – Read the full review here.

Happy Days returns to the Young Vic on 13 Feb 2015. Call 020 7922 2922 or click here to book now.