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BBC Radio Play - Vaclav Havel - Leaving (2009)

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Audio Books : Literary : MP3/128Kbps : English
     
Leaving - Vaclav Havel (1936-2011)

Translated by Paul Wilson

Adapted for Radio by Jeremy Front

Leaving, written and first performed in 2008, was playwright and former
Czech president Vaclav Havel's first play since 1988.

first broadcast - BBC World Service, World Drama,
Saturday 14 November 2009 
rebroadcast - BBC 4 Extra, 22 January 2012

http://www.bbc.co.uk/programmes/p004w68z
http://www.bbc.co.uk/programmes/b019q6cp

Ex-Chancellor Vilem
Rieger is leaving office, but should he, his mistress and extended family lose the state villa as well?

Vaclav Havel's new absurdist tragicomedy, "Leaving" depicts a womanizing former political leader who 
grudgingly confronts the political wilderness. Much has been made of the parallels between the plot and Havel's life.
The main character, Vilem Rieger, the chancellor of an unnamed country, is ousted from power and his extravagant
government villa by a pompous former deputy, Vlastik Klein. He just happens to share the initials of Vaclav Klaus,
Havel's arch-rival, who succeeded Havel as president of the Czech Republic.

The Author - Simon Russell Beale

Rieger - David Haig
Klein - Hugh Bonneville
Iraina - Joanna scanlan
Viktor - Stephen Hogan
Anush - Philip Fox
Dick - Carl Prikov
Grandma - Ann Beech
Monica - Lisa Southerby
Oswald - David
Hargreaves
Suzanna - Annabelle Dowler

Directed by Marion Nancarrow

Length: 57min

Type : mpeg 1 layer III
Bitrate : 128
Mode : stereo
Frequency : 44100 Hz
frames : 130270
Length : 00:56:42
Encoder : Gogo (before 3.0)
Encoded by : auntadadoom 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

http://www.whatsonstage.com/west-end-theatre/news/12-2011/sam-walters-on-the-orange-tree-and-vaclav-havel_5862.html

Sam Walters - The Orange Tree & Vaclav Havel

What's On Stage - 19 Dec 2011

The Orange
Tree Theatre in Richmond has staged more plays by Czech playwright and politician Vaclav Havel, who died on Sunday, than
any other UK venue.

Here, artistic director Sam Walters tells us more about how the association came about,
and describes what it was like to meet Havel after so many years working on his plays.

Sam Walters: The three
big events in the life of the Orange Tree Theatre are the beginning of the venture on the last day of 1971, the opening
of the new theatre in February 1991 and our involvement with the plays of Vaclav Havel in 1977.

Our 2008
production of Vaclav Havel’s new play Leaving was the high point of a relationship that began over 30 years ago
and of our many Havel productions it was the first that the author himself saw. Our recent staging of The Conspirators
was our twelfth Havel production.

Like most of the best things in life, our association with Vaclav Havel and
his plays was initially a matter of chance.

My attention had been drawn to the 1976 autumn edition of Index
on Censorship, in which there was a translation of the first of the Vanek plays. I liked the play and quickly discovered
that there was a companion piece and that translations were being prepared for BBC radio in which Harold Pinter was to
play the role of the semi-autobiographical character of Vanek.

As chance would have it, not only were the
plays available for the stage, but we were generously allowed to premiere our stage productions before the planned radio
broadcast.

So we scheduled Audience and Private View for February 1977. Then on 1 January “Charter
77” burst upon the world and our author, one of the first three designated spokesmen for the Charter, became
overnight the most famous living playwright in the world. Vaclav Havel and the events in Czechoslovakia were the big
political news of the moment and we found ourselves caught up in Czech politics and made the decision to respond.

I immediately decided to follow the double bill with The Memorandum. In these days of forward planning such a
reaction to the immediacy of events would, alas, be far more difficult. The Memorandum, which had been published in the
UK and presented on both BBC Radio and Television (imagine a play by an obscure Czech playwright on BBC1 today?!), had
not been produced on the stage.

The productions aroused considerable interest. The critics descended upon us
and the room above the pub was packed. We plastered the walls up to the theatre with daily news cuttings about
Czechoslovakia and found to our delight that we were acting as a little bit of a centre and a focus for the many
concerned Czechs in London.

With input from our new friends (including Veronica Hyks, now responsible for our
excellent audio-described performances) we created a documentary, which we called A Faraway Country and presented it at
lunchtimes during the run of The Memorandum.

We also presented a lunchtime production of Guardian Angel. And
throughout everything we were collecting signatures on a petition protesting at the treatment of our beleaguered author
and his colleagues. Sixty or seventy of us, with Tom Stoppard at our head, and even accompanied by a political
journalist or two, marched on the Czech Embassy to deliver it. They refused it. But we swiftly moved round into the
tourism section and managed to thrust the list of signatories over the counter.

The next year we produced the
British Premiere of The Increased Difficulty of Concentration and in 1980 there was a third Vanek play, Protest, and we
produced it, as was intended, in a double bill with The License by Pavel Kohout.

Again we staged a
documentary created by our arts council assistant director Anthony Clark (who returned to us this season to direct Next
Time I’ll Sing to You). This documentary was a dramatisation of the trial of the Committee to Defend the Unjustly
Prosecuted (the VONS trial) when Havel was given a four-and-a-half year prison sentence. The documentary, performed at
four Sunday lunchtimes during the run of the double bill, involved a reading of part of Havel’s essay The Power
of the Powerless which was read in turn by Peggy Ashcroft, Bernard Levin, James Saunders and Tom Stoppard.

And there was, of course, another petition. Somehow in the mid 1980s we missed doing the British Premiere of Largo
Desolato (that happened in Bristol) but in 1987 we did do the London Premiere with Geoffrey Beevers as Leopold Kopriva
and Auriol Smith as his wife Suzanne, who both 20 years later, appeared in Leaving.

Meeting the man
himself

Sometime during these years, Havel’s translator Vera Blackwell, an exiled Czech, had expressed
worry that his letters to her would be destroyed and never reach her. Would I act as an intermediary? If he addressed
letters to me they might get through. I willingly agreed, relishing the thought of entering the world of John le Carre.
I waited and waited. At last a letter arrived. It had clearly been opened and stuck together with inadequate sticky
paper. As it was addressed to me I felt free to open it. It was in Czech of course, but instead of beginning “Dear
Sam”, to put ‘them’ off the scent, it began “Dear Vera”, which I rather thought gave the
game away. I never received another.

I always rather hoped that the Czech authorities would consider us
subversive enough to monitor our Havel supporting activities and so when my elder daughter was to visit Czechoslovakia
with the Sadler’s Wells Royal Ballet, I visualised her at Prague airport being whisked off by the powers that be
and returned home. Headlines for a day. This did not happen, however, and she was able, unmolested, to take the reviews
of all our productions along to Havel’s flat.

My opportunity of meeting with Vaclav Havel happened a
year or two later when in 1989 I was awarded a Winston Churchill Travelling Fellowship. Part of my travelling grant was
to be spent in Prague visiting our playwright. On Friday 17 November a student demonstration was broken up by the
police. I arrived in Prague on the Tuesday evening. Instead of a furtive visit to his flat under the watchful eyes of
the secret police, my first view of Vaclav Havel was in Wenceslas Square as he addressed half a million people and
played the leading role in changing the history of his country.

As in 1977, once again Vaclav Havel had led
me into heady times. I was introduced in debates at theatres, rattled my keys in Wenceslas Square and gate crashed press
conferences, where on one occasion I found myself sitting next to Michael Simmons, the Guardian’s Eastern
European correspondent, who was to write a book about Havel, The Reluctant President, and who I have known ever
since.

When my wife Auriol Smith arrived to join me, through the good offices of the theatre director the
late Jan Grossman, despite the pressure that he was under, we got at last got to meet him in his flat. He apologised
that he was so busy and said “we are in the middle of a revolution and we are amateurs”. He knew of our
small theatre and was grateful for our productions and support of him and his colleagues. We all then moved to the final
gathering at the Magic Lantern Theatre, which had been acting as a headquarters of the Civic Forum and the venue for the
packed press conferences. It was then that we acquired our “Havel for President” badges.

In 1990,
with Havel now installed in Prague Castle as his country’s President, we presented the British Stage Premiere of
Redevelopment. This was the final new production in the room above the pub before we moved from over the road into our
current theatre. And having moved himself from imprisoned dissident to President in a matter of months, it was also the
last full length play that Vaclav Havel would write for 20 years.

In the new theatre we returned to The
Memorandum in 1995 and in 2003, the year that his Presidency of his country came to an end, we presented the British
Premiere of Havel’s version of The Beggar’s Opera - the only one of his plays to have been staged in
Czechoslovakia between 1968 and 1990, albeit for only one secret performance.

In 2007, we are asked by the
Czech Centre and the Czech Embassy to host a celebration of the 30th anniversary of Charter 77. We are delighted and
honoured to do so.

There were a number of distinguished chartists, as well as people from this country who
were involved in the events. The presence of President Havel, who had just spent time in America, was not expected. But
then suddenly we were told he was to be here. So after 30 years of the theatre’s association with his plays
Vaclav Havel was not only to visit the Orange Tree Theatre, but to perform here.

The evening opened with the
first few pages of Audience being read by Havel and Pavel Landovsky, the actor and fellow Chartist. It was a wonderful
occasion, and a right and proper climax to our long and fruitful association.

(This is an edited extract from
Sam Walters' programme notes for The Conspirators, which received its UK premiere at the Orange Tree in September.)

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