As I’ve remarked before, the time-lag
between a particular opening night and the corresponding issue of
Theatre Record can result in
strange dislocations, such as reviews of a major West End show
appearing after the production’s run has been cut short. There’s
a semi-example of that in the current issue: the “More on previous
productions” pages at the back include reviews of Con O’Neill’s
appearance in
Prick Up Your Ears,
replacing Matt Lucas who left the production following his ex-civil
partner’s suicide. Unfortunately, O’Neill’s arrival was not
enough to buoy up the production’s box office, and it closed on
November 15. But how much more complicated things become when
Theatre Record itself is an
element in an ongoing story…
Last issue I commented at some length on various errors and
controversial views by Tim Walker in his
Sunday Telegraph reviews.
I’ve noted before that Tim has stated his determination to be revenged
on me, and on Mark Shenton, who occasionally makes similar comments on
his blog on
The Stage web
site. I remarked in Issue 07 this year on previous pointed
comments made by Tim about fat people as a way of getting at Mark and
myself (although Mark has trimmed down enviably in recent
months). In a review reprinted in Issue 05, Tim wrote about his
sudden change of heart in refusing to apply for membership of the
Critics’ Circle (of whose Drama section Mark is chairman and I am
secretary), comparing his own stance with resistance to Nazism.
Diatribe
And then on 8 November, Tim devoted fully half of his coverage of
Pains Of Youth to a diatribe about
the size of the person sitting behind him in the theatre. That
person was me. Now, to be sure, I’m very fat indeed, but all
Tim’s allegations about physical contact are entirely untrue, and I
strongly suspect physically impossible. I’m not wounded by the
insults: I’ve been fat almost all my life, so I was used to mockery and
abuse by the age of eight or so, and most of that mockery was more
sophisticated than Tim’s. But read that review, and marvel at two
things: one, it was written by a grown man; two, it was published by a
quality national newspaper. The
Sunday
Telegraph’s arts editor either actively passed that copy as
being of suitable relevance and quality for the paper, or else doesn’t
care enough to check his columnists’ writing. As far as I know,
six of my fellow critics – including Paul Taylor, quoted opposite, and
Rhoda Koenig – have written to the paper in protest at Tim’s
remarks. He seems to believe that this is
ipso facto evidence of an
orchestrated campaign against him; it doesn’t seem to occur to him that
there might simply be that many people who felt spontaneously and
actively disgusted by his comments. (For the record, there has
been no such campaign. Also for the record, I wasn’t on
Financial Times duty that night,
and left at the interval due to illness.)
But where does the aspect of scheduling enter this frankly pathetic
saga? Well, here’s the thing: Tim wrote that review before the
last issue of
Theatre Record was
published. So it can’t have been my sustained criticism of
various of his writings in that issue that goaded him to such a
personal response. At most, it can only have been my brief remark
about his musings on
Inherit The
Wind in Issue 20. I wrote last issue that I felt somewhat
embarrassed and guilty at addressing one writer so persistently, but
now Tim has retrospectively justified my stance. So, if he’s now
seen Issue 21, what can we expect him to launch at me in a future
column?
[Footnote: well, the rest is
history...]
Written for Theatre Record.