Sir Laurence Olivier. Orson Welles. Vivien Leigh. Joan Plowright. Kenneth Tynan. When these champions of the theatre get together to rehearse Ionesco’s Rhinoceros, mere mortals best step aside. With lightning wit and scathing insight into the true nature of genius, Austin Pendleton’s play opens the private worlds of these very public people, exposing their warmth, their egos, and their glittering madness. Directed by Rosalind Ayres Producing Susan Albert Loewenberg An L.A. Theatre Works full-cast performance Caroline Goodall as Joan Plowright Glenne Headly as Vivien Leigh Martin Jarvis as Laurence Olivier Robert Machray as Orson Welles Orlando Seale as Sean Simon Templeman as Kenneth Tynan Associate Susan Raab Recording Engineer/Sound Designer/ David Kelly for Voice Box Studios Recorded before a live audience at the Skirball Cultural Center, Los Angeles in February 2003.
2.5 rounded up. A bit of an insider's play and enjoyment of it will depend on how much you care about this time period and Old Hollywood gossip. I did not know that Laurence Olivier was married to Vivien Leigh or Joan Plowright. But I also was not left wanting to know any more about them. For those who do find that sort of thing interesting, this may be a delicious dish. However, if I was a theater teacher, I would be able to find a lot to use for a scene study class. The dialogue, when it is really crackling, has a nice flow filled with humor and pathos, larger than life personalities, and a lot of unspoken confessions and accusations beneath the words.
Recorded live in front of an audience, six current actors, including Martin Jarvis as Lawrence Olivier, perform as film stars of the past in conversation during rehearsals. Still audible off stage laughter brings the illusion of actually being there in this intimate, sad but also amusing production.
Excellent performances from everyone. Best enjoyed it the listener is familiar with mid twentieth century film.
Should’ve been called Vivien’s Shadow in my opinion! Even if slightly misogynistic, Pendleton seemed to be more interested in exploring her “wasted potential” and the complexities of the relationship between her and Olivier (here equally volatile to Leigh) than he was interested in Orson Welles’s career (a subject which he never delves beneath the surface of).