Sam Mendes’s return to the National Theatre promises a showdown between Richard Burton, Elizabeth Taylor, and John Gielgud. Hayley Maitland meets the cast.
When, one night in Manhattan, 1964, Truman Capote accepted a ride in Richard Burton and Elizabeth Taylor’s limousine after the theater, the author wasn’t prepared to find himself at the center of a mob scene. “Damp, ghostly faces were flattened against the car’s windows,” he wrote. “The whole scene was like a stilled avalanche nothing could budge.
We’ve stolen 40 minutes between portraits, and the rehearsal-like atmosphere—everyone in monochrome, studio lights, Colorama scrolls—is fitting. Gielgud staged hisas if it were a final run-through, without elaborate costumes, props, or backdrops: “quite a modern idea at the time,” as Flynn notes, and something Mendes will reference in his staging.
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