“Such Friends” 100 years ago, January 1, 1920…

 

America was going on the greatest, gaudiest spree in history and there was going to be plenty to tell about it. –F. Scott Fitzgerald

fitzgerald

F. Scott Fitzgerald

That was 100 years ago. So here we are again. At the beginning of the Twenties. Will this be a similar decade?!

There’s one way to tell:  To look back at certain points and document what was happening a century before, with the artists and writers who were “Such Friends”:

William Butler Yeats and the Irish Literary Renaissance,

Virginia Woolf and the Bloomsbury Group,

Gertrude Stein and the Americans in Paris, and

Dorothy Parker and the Algonquin Round Table,

in Ireland, England, France and America.

As the new decade begins…

Irish poet W B Yeats, 54, is getting ready to go back to the United States on his third American lecture tour, this time with his wife, Georgie Hyde-Lees, 28. They are leaving the baby Anne, just 11 months old, back in Ireland with his sisters.

Yeats and Geo 1923

Georgie and William Butler Yeats

Hogarth Press owners, novelist Virginia Woolf, about to turn 38, and her husband Leonard, 39, have been celebrating the holidays at Monk’s House in Sussex, which they bought last year at auction. This coming year, they want to spend more time outside of too-busy London.

Va and Leon

Virginia and Leonard Woolf

In Paris, American writer Gertrude Stein, 45, and her partner, Alice B. Toklas, 42, are still getting back to normal after the Armistice. Their apartment, on the Left Bank near the Luxembourg Gardens, had hosted salons for all the local painters before the Great War. Who will come now?

Gert and Alice with the paintings

Alice B. Toklas and her partner Gertrude Stein with Picassos

Vanity Fair writers Dorothy Parker, 26, Robert Benchley, 30, and their “such friends” are lunching regularly at the Algonquin Hotel in midtown Manhattan. And trying to drink up in the last few weeks before the Volstead Act—Prohibition—goes into effect. It won’t slow them down.

parkerbenchley cartoon

Dorothy Parker and Robert Benchley

Join me on a journey through the “Literary 1920s,” tracking these characters in their place and time, 100 years ago. Happy New Year!

“Such Friends”:  100 Years Ago… is the basis for the book, “Such Friends”:  The Literary 1920s, to be published by K. Donnelly Communications. For more information, email me at kaydee@gpysyteacher.com.

In 2020 I will be talking about Scribner’s editor Maxwell Perkins and his relationships with F. Scott Fitzgerald, Ernest Hemingway, and others in both the University of Pittsburgh and Carnegie-Mellon University’s Osher Lifelong Learning programs.

Manager as Muse, about Perkins and his writers, is available on Amazon in both print and Kindle versions.

If you want to walk with me through Bloomsbury, you can download my audio walking tour, “Such Friends”: Virginia Woolf and the Bloomsbury Group.

 

‘Such Friends’: Woolf Works

When the Royal Ballet premiered Wayne McGregor’s Woolf Works last year, I left it too late, and by the time I tried to book it was sold out. Bummer.

So when it came around again, I was determined to get in early. Got tickets for the first matinee, first day. Off to London.

Having never been to the Royal Opera House in Covent Garden, I allowed plenty of time to get there. And it’s a good thing because the refurbishment construction leads to signs and arrows pointing you to the main entrance, outside Covent Garden.

Once I found it, the search for lunch began. It’s usually best to head away from the theatre, but right next door was a lovely French-looking restaurant, La Ballerina, with a set price menu that included salmon. Sold.

Lunch doesn’t usually start until 1 pm over here, so when I poked my head in ten minutes before noon, I had the place all to myself. But the closer it got to show time, the more it filled up.

After a lovely light but filling lunch, I joined the queue to find my way to my seats up in peanut heaven. Thank God there was a lift.

Part of the attraction of this trip was a chance to see the Royal Opera House for the first time. I can report that it looks exactly like a very royal opera house. More surprisingly, my cheap seats turned out to be relatively comfortable, and gave a clear view of the ornate ceiling, the filled seats and, most important, the stage.

royal-opera-house

The Royal Opera House from the other side

Although about half the audience was the usual stale, pale and female arts matinee crowd—including me—I was thrilled to see so many who didn’t fit any of those demographics. On either side of me were Asian university-age students. A quick scan of the house showed a younger average-age crowd than I had expected. Was the attraction Virginia Woolf’s works? Or the original score by Max Richter? Or was this the usual Royal Ballet Saturday afternoon audience?

Although everywhere I had been on this London weekend was freezing cold, inside and out, here, settling in for a three-hour ballet with two long intervals, the theatre was a bit warm. And you who know me know, I’m never too warm.

The first piece—I Now, I Then—was based on Woolf’s 1925 novel, Mrs. Dalloway, one of my favorites. As in the novel and film The Hours, Clarissa and Virginia were merged into one. The movement between the younger and older versions of Virginia in print dresses and her husband Leonard in tweedy suits visually echoed the novel.

leonard-and-va-woolf-works

I now, I then, Act One of Woolf Works

During the 30-minute interval—intermission to my fellow Americans—I tried to read the detailed program [£7; you can order ahead with your tickets]. Was the tiny type another way to attract a younger audience? Because anyone over 40 wouldn’t be able to read that in any light.

The middle piece—Becomings—based on Orlando, Virginia’s 1928 tribute to her lover, Vita Sackville West, started off quite darkly. And stayed that way. I could see the dancers who were downstage in spotlight, but there were others back in the shadows. Not waiting to come on dancing, but dancing. Why, if we can’t see them? This was contrasted with the amazing laser effect at the very end. Could have spread that illumination out a bit more, if you ask me.

Between the warmth and the darkness, I could feel my eyelids doing that dip they do when you’ve been driving too long. The second interval allows 30 minutes to get up and walk around. A chance to see the building and have a shot of that standard British theatre-accompaniment, a yummy, tiny tub of ice cream.

Back in our seats a half hour later, the young ones around me were pulling up reviews of the ballet on their phones. Thank God they haven’t been looking at them during the show.

The final section—Tuesday—based on The Waves, opens with a huge video mural across the length of the stage of…waves. It’s quite effective, but the waves seem to stop waving after the first few minutes.

the-waves-woolf-works-dance-009

Tuesday, Act Three of Woolf Works

In this piece, the dancers are much better lit. And the voice of Gillian Anderson gives an emotional reading of Woolf’s last writing, the note she left behind for Leonard before walking into the River Ouse in Sussex:

…You have given me the greatest possible happiness. You have been in every way all that anyone could be. I don’t think two people could have been happier till this terrible disease came…’

But if you are that happy, why take your own life? Why? I’m sure Leonard asked the universe this same question when he read that note. Now we can understand this as an indication of how mental illness is indeed a ‘terrible disease.’

As the dance ends, the audience bursts into applause. Unlike the earlier pieces, the finale includes bows from all involved. First the young kids. Bow. Then the members of the company. Bow. Then the principals. Bow some more. Then everybody! More bowing. More clapping. A bit more bowing. Did we forget anyone? More bowing.

Done.

A lovely afternoon in a beautiful theatre, with enthusiastic companions, and beautiful art.

Woolf Works is going to be broadcast to theatres in the UK later this month. But I highly recommend taking in real, live, theatre.

To walk with me and the ‘Such Friends’ through Bloomsbury, download the Virginia Woolf and the Bloomsbury Group audio walking tour from VoiceMap.

woolf-works-poster

Woolf Works poster