Extract: In Two Minds - Jonathan Miller | Theatre reviews, news & interviews
Extract: In Two Minds - Jonathan Miller
In this excerpt from Kate Bassett's new biography, Miller recalls directing Olivier in The Merchant of Venice
When I first mentioned to a colleague that I was embarking on a biography of the doctor/director Jonathan Miller, he instantly yelped, “My God, your work’s cut out! The man must have met half the famous names in the twentieth century!"
My subsequent conversations with Miller provided a cornucopia of highly entertaining anecdotes. These included his brushes with Princess Margaret (who was very taken with his comic turns in the 1950s); Bobby Kennedy (who told him to shut up, shortly before being shot); Bridget Riley (who nearly sued); and Kevin Spacey (who got his big break by stalking Miller for an audition).
Equally delightful, for me, have been Miller’s erudition, eloquence, and polymathic range. In his restlessly prolific career, he has not just switched from the operating theatre to opera and theatre, via the satiric hit revue Beyond the Fringe. He has run the Old Vic (1988-90), and been a chatshow favourite and a top TV presenter and producer – notably of the BBC’S 13-part history of medicine The Body in Question and the Corporation’s mammoth Shakespeare Series. More recently, he has curated for the National Gallery, and become an exhibited collagist and sculptor.
Though known for his insult-slinging bust-ups, not least with Sir Peter Hall, he has mainly been a brilliant connector, straddling the arts and the sciences. Yet he has felt endlessly torn, guilt-ridden that he didn’t concentrate on neuropsychology.
In researching this biography, I further learned of his complicated ancestry – his grandparents being illiterate Lithuanian immigrants who fled anti-Semitism – and of how the crucial arts-science dichotomy was rooted in his parents' marriage. His mother, Betty, was a Bloomsbury novelist while his father, Emanuel, a leading child psychiatrist, failed to prize his son’s life in the theatre.
The extract overleaf focuses in on 1969-70, when the elderly Emanuel was near death’s door, and Miller triumphed at the National Theatre, working with Laurence Olivier.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
A timely revival of a timeless satire
Affectionate tribute to a great double act
Lavish entertainment from the musical portrait of Forties Tinseltown
UK premiere of sweet, phenomenally popular American drama set in a fictional town
Pastiche co-written by Sarah Waters is a brave misfire
Las Vegas bling lethally demolished in Rupert Goold's layered Shakespeare
A charmless Falstaff and two blunt young blades in mediocre Shakespeare double bill
Brilliant and endlessly inventive theatre from this young British company
The danciest British musical ever is back
The children's classic sets sail with Arthur Darvill aboard
Dallas heroine waves her wand, but the stand-up is the stand-out in classical panto
Puppeteers bring horrible plant brilliantly to life in the round