Imo and Ben, Radio 3 play by Mark Ravenhill, tonight at 8.30

[Mary Chambers]

Going back to Britten's out-of-tune piano (and thanks, Mary, for your info on his address and his pianos!) I wonder if there is a single reference, maybe in IH's writings, to a studio piano being thus? If not, it was a strange and perhaps unnecessary construct for the playwright to have used.

I'm not aware of any such reference, but to be sure I'd have to check a great many books, and I'm not sure that even my enthusiasm extends that far! The studio piano in the photo is a small (i.e.not full concert size) grand. I too was puzzled by the piano used in the play.

I think Ravenhill's intention was to explore not only a personal relationship, but also the problems inherent in writing for an important national occasion.

[ardcarp]

Post #15 above might seem a little confusing. This is because the discussion of Ben and Imo as a work of fiction led on to Amadeus, which understandably ff decided to separate off. So one might need to read both threads, if bothered.

[french frank]

Post #15 above might seem a little confusing. This is because the discussion of Ben and Imo as a work of fiction led on to Amadeus, which understandably ff decided to separate off. So one might need to read both threads, if bothered.

Oops! I thought I'd copied it over and deleted the bits that became irrelevant. Will do.

[Sir Velo]

Having heard this finally, the first thing is to say is that the acting is first class but neither Paul Ready nor Amanda Root sound remotely like either Britten or Imogen Holst respectively. Ready is not sufficiently curt for the autocratic Britten and Root sounds too confident, and insufficiently "old maid-ish" for the part of Imo. I also didn't care for the Imo character's reference to her father as "Gussie". Surely, he was always "Holst" in her day to day conversation. Moreover, the almost complete absence of Pears from the play, and only an occasional passing reference to his and Britten's complex relationship seemed strangely coy, almost as if Ravenhill still harboured doubts as to Britten's homosexuality.

While much of the play's background was evidentially accurate (e.g. the adverse initial critical reaction; Imogen Holst's failure to receive proper remuneration for her work as amanuensis) I would not say that the relationship between the two was totally convincing (given what is already in the public domain). Where the play was good was in its illumination of Holst's fascination with the genius of composers and her ability to sacrifice her own career ambitions to help midwife a work of art into existence, and in an understanding of Britten's mixture of complete self confidence in his artistic worth and his need for constant approval.

Still, worth hearing if you haven't yet done so.

[Mary Chambers]

I find it difficult to erase from my mind the portrayal of Britten and Imogen Holst by Simon Russell Beale and Anna Massey in another radio play, The Ceremony of Innocence, some years ago. They were much better. Paul Ready seemed to make a lot of noises to fill in perceived gaps and show reaction. In that earlier play Pears was played by Julian Wadham, who also seemed right. I agree that it was strange not to include him in this latest play, but I presume it was because Ravenhill wanted to concentrate on Britten and Holst - who I think would probably have referred to Gustav as 'my father' to someone like Britten. I feel also that Imogen H.'s apparent infatuation with Britten, at least in the early days, was played down. Perhaps Ravenhill didn't want to put too much stress on very personal relationships and emotions, in order to concentrate on the process of the composition of the opera. It was a missing dimension, though.

[ardcarp]

Moreover, the almost complete absence of Pears from the play, and only an occasional passing reference to his and Britten's complex relationship seemed strangely coy, almost as if Ravenhill still harboured doubts as to Britten's homosexuality.

Ravenhill did not IMO want to get side-tracked (as often happens) into the 'gay'issue nor the fondness for children. As Mary says, his mission was to focus on the Imogen Holst collaboration, so I don't think he was being coy. Agreed, at one point Ben (in the play) mentions in passing his and PP's idea to adopt a couple of kids, but there was no suggestion of anything sinister. Thanks for sticking to the point Mr R.

Sir Velo, I think IH may have sounded 'old maidish' as we remember her, but presumably she wasn't once! And the English upper classes do have a habit of referring to their parents by whimsical names, viz Bunty, Miggers, need I go on?

[Sir Velo]

Sir Velo, I think IH may have sounded 'old maidish' as we remember her, but presumably she wasn't once! And the English upper classes do have a habit of referring to their parents by whimsical names, viz Bunty, Miggers, need I go on?

I'm afraid IH was considered "oldmaidish" by some of her contemporaries at the time of Gloriana. Remember she was well the wrong side of 40 at this stage, and nearly a decade older than BB.

I deliberately said she would have called her father "Holst" as this is how she referred to him in her correspondence. I have never read or heard anywhere her calling him "Gussie".

Finally, yes, I'm aware that Pears was omitted from the play in order to concentrate on the IH/BB relationship. This does not make it any the less of an absurdity when the BB/PP relationship overshadowed any other concurrent relationship. Rather than being "sidetracked" the Pears relationship is integral to an understanding of Britten's psyche.

[Mary Chambers]

Finally, yes, I'm aware that Pears was omitted from the play in order to concentrate on the IH/BB relationship. This does not make it any the less of an absurdity when the BB/PP relationship overshadowed any other concurrent relationship. Rather than being "sidetracked" the Pears relationship is integral to an understanding of Britten's psyche.

I agree with that. The relationship isn't given enough importance in the Kildea biography, either.

[amateur51]

Having heard this finally, the first thing is to say is that the acting is first class but neither Paul Ready nor Amanda Root sound remotely like either Britten or Imogen Holst respectively. Ready is not sufficiently curt for the autocratic Britten and Root sounds too confident, and insufficiently "old maid-ish" for the part of Imo.

I wonder what you think sufficiently "old maid-ish" would sound like?

[Andrew Slater]

I deliberately said she would have called her father "Holst" as this is how she referred to him in her correspondence. I have never read or heard anywhere her calling him "Gussie".

I can't imagine her referring to RVW as 'Vaughan', either......

[ardcarp]

i wonder what you think sufficiently "old maid-ish" would sound like?

a handbag???