Unfortunately, I missed his most famous stage performances, but did see him as A E Housman in Stoppard's Invention Of Love.
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Unfortunately, I missed his most famous stage performances, but did see him as A E Housman in Stoppard's Invention Of Love. -
And on it goes, this absurd, weekly parade of leading theatrical talents taking their final exit.
I try to cheer myself up by calling what is the end of a line, the changing of the guard instead. Not much longer now before there will be no actors who grew out of the theatre.
I wrote elsewhere about seeing him at the National in about 1981 in a translation of Arthur Schitzler's 'Undiscovered Country'. He was as tall and as thin as a rake, but with such presence on the stage and he fare bristled with an electric energy. To see him then was to watch his character reacting to the events afflicting him in real time. In other words, the essence of stage craft, creating anew the lines he'd been running for weeks if not months.
One line he had to utter lives with me to this day. In about two strides he seemed to cross the entire stretch of the Olivier with a sense of controlled urgency. Something clearly had happened and Dorothy Tutin sat fearfully waiting for him to speak. Pausing only to pour a much needed drink he announced finally and quietly 'I've killed him'. He has just returned from a duel and yet the restrained panic in his voice reveals his sense of shock as if utterly alarmed at how this was the last thing he expected.
The other time I saw him on stage was as General Burgoyne in Jack Gold's 1976 production of Shaw's 'The Devil's Disciple' (RSC). It was a rip roaring performance with a golden strand of comedy running through it.
My father was in the same production as the Reverand Anderson and he was also very lucky in joining JW in Harold Pinter's production of Joyce's only play, 'Exiles', when it had transferred to the Aldwych from the Mermaid Theatre.
He admired Wood enormously and was very pleased to have worked with him.
For my part, how I would love to have seen him as the Player King in Rosencrantz and Guildenstern Are Dead. That would have been all of a treat.
(First posted on Michael Billington's Guardian blog) -
A great loss. I thought he was one of the best actors of a generation where there was a wealth of acting talent. I saw and greatly admired that performance as A E Housman in Stoppard's The Invention of Love, and also the RSC King Lear, in which I thought he gave the most moving performance in the title role I have seen. He was rather wasted in the films he did, but was very good in a number of BBC classic dramas (in the days when the BBC still did classic drama on TV) and also in classic productions on radio.
RIP.Comment
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Some fine tributes to a fine actor here already so I'll confine myself to saying that he gave me much thought and pleasure over the years, and news of his being cast always set the pulse racing at the prospect.
Condolences to his family and friends.Comment
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Yes, very sad - magnetic and intense actor. I saw that Stoppard performance too, and his Lear and Prospero (the Lear is the one depicted in the linked obit). Tremendous stuff. Sadly missed.Originally posted by Mandryka View Post"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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I have seen Lear's madness played many ways, but John Wood at Stratford was the only one who ever convinced me that he was stark-staring bonkers and totally devoid of marbles. He was also a memorable Sir John Brute (The Provok'd Wife), and succeeded in the not inconsiderable feat of making one feel sorry for him. What a range! He had a good line in smiling villains - has anybody mentioned Jumping Jack Flash?Comment
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