Jeremy Northam and co-star Lindsay Duncan (Richard Greatham and Judith Bliss respectively) are interviewed in today’s Daily Telegraph about their roles in Hay Fever (due to open 10 February at the Noel Coward Theatre).

Clearly, he and Lindsay are getting along famously and enjoying their rehearsals, but as you would expect from such excellent and experienced actors, they’re also taking it very seriously amongst the laughs:

JN: We’re at that awkward stage of rehearsals where we’re past the initial phase – we’ve got a handle on the parts, but we know there’s more to it than that.

LD: Even though Hay Fever has touches of farce, the golden rule is that whatever truth you’re playing you must play it for all you’re worth. When you read the play, it’s obviously funny but you do have to be specific – that’s the sticky stage we’ve reached, trying to get a sense of what those specifics are.

Jeremy explains why he took the role:

I haven’t properly done a West End run for 20 years. I’ve done a good deal of filming over the last 15 to 20 years – and the most overused word in the film business is “ensemble”, but this is a real company show. One of the reasons I wanted to do this is to have that authentic experience again where everyone is keeping the ball in the air. This is probably going to be as much fun as it’s possible to have on stage – we’ve got a phenomenal cast, the best director [Howard Davies] in the business. If we can’t have fun doing this, there’s something wrong with us.

And if we can’t have fun watching, then there’s something wrong with us too! Read the full interview here.

Those of you still hesitating about when to go and see Hay Fever might like to note that during the previews (up to March 1, Monday – Thursday performances), top price tickets (usually £53.50) are £29.50. They can be bought here.

Jeremy is currently in rehearsals for Hay Fever, opening at the Noel Coward Theatre on 10 February and running for sixteen weeks (last night, 2 June). The full cast has now been announced, and stars Lindsay Duncan (Judith Bliss), Kevin McNally (David Bliss), Jeremy Northam (Richard Greatham) and Olivia Colman (Myra Arundel) are joined by Sam Callis (Sandy Tyrell), Freddie Fox (Simon Bliss), Jenny Galloway (Clara), Amy Morgan (Jackie Coryton) and Phoebe Waller-Bridge (Sorel Bliss). Howard Davies directs, with designs by Bunny Christie, lighting by Mark Henderson and sound by Mike Walker.

Tickets are selling fast, so if you haven’t booked yours yet, I’d get your skates on. You can book them direct from the theatre here (and via all the usual ticketing agents). Jeremy hasn’t graced a London stage since 2004 (Old Times, Donmar Warehouse) and there are many who thought perhaps he’d given up treading the boards, so this is a rare opportunity to see Jeremy air his Olivier Award-winning chops in public. In a comedy, too. For me, this is the stuff dreams are made of (literally!). If you can go, do!

White Heat, the other early 2012 treat in store, looks like it may be broadcast in March (the exact date, I’m told by the BBC, will only be confirmed two weeks prior to transmission, so could change). Happily, the BBC would like us to feature White Heat here at the blog, so look out for more information and pictures (oh yes!) next month.

A reminder:

White Heat is a new six-part drama series about the interwoven lives, loves and betrayals of seven characters whose relationships are forged in the white heat of the Sixties through to present day, written for BBC Two by award-winning writer Paula Milne.

Passionate, dangerous and compelling, the characters’ love stories and friendships are set against a backdrop that takes us from Wilson to Thatcher, feminism to the Falklands, hedonism to HIV – exploring the personal and political journeys which shaped their destinies to make them the people they are today.

White Heat stars Sam Claflin (Pirates Of The Caribbean: On Stranger Tides, United), Claire Foy (Little Dorrit, The Promise), Reece Ritchie (Prince Of Persia: The Sands Of Time, Pete Versus Life), Lee Ingleby (Being Human, Inspector George Gently), MyAnna Buring (The Twilight Saga, Any Human Heart), David Gyasi (Red Tails, Murderland) and Jessica Gunning, with Jeremy playing the father of Sam Claflin’s character. It’s being billed as one of the BBC’s drama highlights for 2012.

And that’s all we know about for now … might there be more? If there is, I’ll be sure to let you know!

Gill

But Wikipedia lists one further entry for the date, and it’s the one that makes 1^st December 1961 a Very Big Day in History indeed—around here at least: Born: Jeremy Northam, English actor, in Cambridge.

That’s right. Jeremy Northam, “English actor,” celebrates his 50th birthday today! For close to 25 of those 50 years he has been one of the best actors, of any nationality, in the business.

To mark this milestone in Jeremy’s life, I thought a list of reasons why we admire the man would be in order. Fifty of them, one for every year he’s been in the world. I asked for assistance in compiling my list from the group of ardent admirers who frequent Jeremy Northam Chat and Jeremy Northam Info as well as this blog. The response was wonderful! My sincere thanks to everyone who was able to contribute ideas. I have tried to edit and arrange everyone’s thoughts to their best advantage; I hope the end result pleases. (Several contributors wanted to remain anonymous, so not every item is credited to someone.)

Special thanks are due to Joan, who provided many of the photos that accompany this post; to SkippyQSB, whose beautiful screencaps also provided photos (via JNI); and to Gill, who supplied the audio clips and always makes my JN Blog posts look so spiffy.

LauraP

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And now, without further ado, I give you…

50 Reasons to be a Jeremy Northam Fan:

1. Jeremy’s need for variety in his roles and dislike of typecasting. It makes for a “magical mystery tour” for fans of his work; we never know what is coming next, but we can be certain we’ll enjoy it because our man never lets us down. No matter what he tackles, be it a serious drama, a frothy comedy or an audiobook, he approaches it with utter professionalism, fierce intelligence and a goodly measure of perfectionism. I have completely failed to ever predict his next career move, and that, as well as the quality of his performances, keep me on my toes as a blogger, and excited as a fan. After seeing him as Mr. Knightley, who would ever have guessed he’d play a bug scientist fighting mutated giant cockroaches in the New York subway system? Who could have predicted that he’d play a Victorian poet, a futuristic spy who’s had his memory blanked, and Dean Martin in succession? Not me! (Contributed by Gill)

As RH Ash in 'Possession'

As Peter Mann in 'Mimic'

As Dean Martin in 'Martin and Lewis'

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2. His versatility as an actor; he always surprises and amazes me by how good he is at everything he attempts. From doing comedy in Happy, Texas, to his astonishing transformation during Cypher, to his subtle and restrained brilliance as Sir Robert Morton, Jeremy has incredible range as an actor. (From Ansie)

As Harry Sawyer in 'Happy Texas'

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3. How he could have become a “celebrity” actor, but instead chooses to actually explore a variety of roles, some that (try) to hide his handsomeness—like the character of Col. Lane Woolwrap in Guy X. (Contributed by Gammie)

As Col. Lane Woolwrap, 'Guy X'

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4. His ability to immerse himself in a role. You see the character on the screen, not the man. Jeremy’s performance as Morgan Sullivan/Sebastian Rooks in Cypher is a great example of this; with subtle changes throughout the movie, he completely transforms from meek, put-upon Morgan to sexy, Bond-like Sebastian.

As Morgan Sullivan, 'Cypher'

As Sebastian Rooks, 'Cypher'

The equivalent in his audio work is his incredible ability to create diverse characters with just his voice. Puddleglum from The Silver Chair and Miss Bates in Emma stand out. It’s amazing to me that he was able to express so perfectly the voices of both a 19th-century English spinster and a fantastical creature called a “marshwiggle.” (Contributed by Robyn)

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5. How he’s so good at disappearing into a character that it can take a while to think of him as “Jeremy Northam.” Many of us who are now his biggest fans have had to confess that in the beginning we failed to recognize him when he appeared in a new project. Sometimes it even took two viewings of something before he really caught our attention and we were able to make the connection between a splendid performance and the actor who delivered it. I adored the character of Fitz in Piece of Cake, but the next time I saw Jeremy, in Emma, I didn’t connect the inexperienced young flier with the gentlemanly Mr. Knightley. I also admired his work in An Ideal Husband and Gosford Park before I added it all up and got the right answer to the question “Is that the same guy who played ___?” But I’ve always been really bad at math! (From Laura) Another example: The first thing I saw him in was Emma, and then I forgot about him—the shame!—until The Tudors. That reminded me what a great actor Jeremy is, and I sought out some of his intervening work. (From Marie)

As Mr. Knightley, 'Emma'

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6. How Jeremy’s talent comes first, then his looks “sneak up” on you. For example, after seeing Emma and admiring his acting, I then found myself thinking, “Hey, he’s very handsome!” (Chosen by Gammie)

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7. His intelligence and insight. Not only is this evident in Jeremy’s acting, it shines through in his audiobook performances. His ability to interpret the written word is apparent in the perceptive way he describes the literary characters he has played, such as Prince Amerigo or Mr. Knightley. But even more impressive to me is how his insight is transmitted via his skills, whether he’s acting or reading. I just finished listening to the Our Man in Havana audiobook again and was in awe of how his intelligence and wit come through those words written on the page. It’s in how he interprets a sentence: the phrasing, the pauses, the inflections of his voice, the accents he takes on… it’s so subtle but also powerful. He’s a master at interpreting literature. (Submitted by Ansie)

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8. The sense of humor and humility he displays in interviews, like this one from the Guardian in 2002, called “Northam passes on the singing.” (Contributed by Gammie) Click on the link to read this short interview in its entirety.

http://www.guardian.co.uk/film/2002/jan/31/news1/print

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9. How modest he seems in interviews. I love the Leicester Square TV clip from the red carpet at the Dean Spanley premiere. When he’s asked what he’d like to be reincarnated as, Jeremy says “I think a Parson’s Jack Russell would do me.” Cute! (Picked by Marie) He’s interviewed from 0:53 to 1:56 in this “Leicester Square Premieres” clip:

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10. This interview about An Ideal Husband, especially the bit at the end (at 1:10) where he says, “She [Gertrude]—this sounds a terrible generalization and maybe it’s a terribly sexist thing to say—but like so many women, [she] seems to have that extra capacity for feeling and intellect which so many men seem to lack.” Jeremy Northam on Sir Robert Chiltern: (Note that the volume on this clip is very low and Jeremy is very soft-spoken.)

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11. The interview from the Glorious 39 region 1 DVD extras.

A rare recent interview, in which Jeremy looks and sounds at his best. (Chosen by Joan)

Jeremy being interviewed about his role as Balcombe in 'Glorious 39'

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12. This quote, from a 2002 interview with Emily Blunt for her Blunt Review:

Surely the job of fiction is to actually tell the truth. It’s a paradox that’s at the heart of any kind of storytelling. All the great novels, all the great films, all the great dramas are fictions that actually tell us the truth about us or about human nature or about human situations without being tied into the minutia of documentary events. Otherwise we might as well just make documentaries.

I’ve thought this for years, but I have never been able to adequately explain myself to people who think reading or watching works of fiction is a waste of time. Leave it to the articulate, intelligent Jeremy to put my thoughts into a succinct, perfectly worded statement! (Contributed by Laura)

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13. His taste in music, and how he introduced me to a new favorite. Jeremy mentioned that a copy of The Koln Concert by Keith Jarrett is something he has taken with him when he travels. I like it very much, too. (From Mary)

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14. The first time I saw Jeremy and heard Mr. Knightley say “As an old friend of the family, I had to ask as soon as I got back: Who cried the most at the wedding?” (Submitted by Joan)

Mr. Knightley's entrance, 'Emma'

Ah, yes. Mr. Knightley! Many of us first encountered Jeremy at that moment when he appeared in the doorway in Emma. The role of Jane Austen’s ideal Regency gentleman fit him like a glove; he was the perfect Mr. Knightley: courteous, sweet, funny, and oh, so very handsome. He left quite an impression on us! And this is still one of Jeremy’s best known and most loved roles. More favorite Knightley moments: the archery scene, with his frustrated exclamation “Men of sense, whatever you may say, do not want silly wives!”; the way he squirms when he’s teased by Emma and Mrs. Weston (Gwyneth Paltrow and Greta Scacchi) about his feelings for Jane Fairfax; the “Brother and sister? No, no… indeed, we are not!” line and how he reveals so much by the tone of his voice (Chosen by Marie);

'Indeed we are not ...'

the passion and disappointment in the “Badly done, Emma!” scene; and of course, that wonderful, swoon-worthy proposal where he tells Emma that he rode through the rain to reach her and that “I’d ride through worse than that if I could just hear your voice telling me that I might, at least, have some chance to win you.” “Marry Me”:

What woman could refuse Jeremy’s Mr. Knightley saying, “Marry me, my wonderful, darling friend”? Certainly not me! (The parts not contributed by Joan or Marie are from Laura)

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15. Jeremy’s role as Sir Robert Morton in The Winslow Boy. Seeing him as Sir Robert in David Mamet’s film adaptation of Terence Rattigan’s play was my Eureka! moment as far as Jeremy is concerned. I was aware of his work before seeing him in this film, but up until that point he was another handsome actor who I would enjoy watching. He hadn’t really engaged with me in any special way. Although the performance as a whole is excellent, there is a specific moment where Sir Robert visits the Winslow house and speaks to Catherine after the successful conclusion of the trial. He asks for a whiskey and sits down, temporarily drained and overwhelmed. In that instant, Sir Robert’s humanity is revealed and in that instant, Jeremy as Sir Robert connected with me. As I recall, I felt it physically, almost as a shock. And of course, being so fond of Jeremy’s role in The Winslow Boy was what introduced me to my other favorite actor, Robert Donat. (Submitted by Gill)

As Sir Robert Morton, 'The Winslow Boy'

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16. His first appearance in The Winslow Boy, that’s a great moment, too! (Suggested by Robyn)

Sir Robert Morton is another of Jeremy’s most treasured characters. It is one of his best performances in a film as well. From the moment he appears, taken by surprise by Catherine Winslow (Rebecca Pidgeon) in his office, Jeremy’s Sir Robert is mesmerizing. The interrogation scene that ends with the classic line “The boy is plainly innocent. I accept the brief”; the exchange of lingering looks in Parliament between Catherine, up behind the grille of the Ladies’ Gallery, and Sir Robert down on the floor; the scene where Sir Robert speaks in the House of Commons, with Jeremy’s commanding voice ringing out through the room; and that delicious ending where he gets the last word, “Do you really think so, Miss Winslow? How little you know about men,” delivered with a grin; are all played with understated mastery.

'How little you know about men'

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17. Jeremy’s intense and wonderful performance in Dean Spanley; it touches the innermost part of me!

As Henslowe Fisk, 'Dean Spanley'

The movie is a masterpiece by all involved, but especially Jeremy’s acting enables me a little retreat to an oasis of calm, so to say. I cannot put my finger on it exactly. Is it the emotional facial expression Jeremy lends all the time to Henslowe, or is it his elaboration of a lovely character? I suppose both together. All that worrying about his father’s welfare, the musing about the whys and wherefores, his tenderness for the old housekeeper. And then his modesty, intelligence and humor, all the gentle nuances in his behavior. As an example, I want to describe the scene between Henslowe and his father Horatio when they’re on their way home after the lecture on the transmigration of souls. Fisk Sr. (the wonderful Peter O’Toole) is endlessly going on with his usual nagging and Fisk Jr.is pushing the “chair” and is feeling on edge—you can see it in his beautiful impressive face! And then there is this witty verbal exchange:

Henslowe: Canine flattery is a survival mechanism, according to Darwin.

Horatio: The chap never had a dog is all I can say!

Henslowe: I thought he had a beagle. (Referring to Darwin’s sea journey with the HMS Beagle)

Henslowe’s face at the moment he makes this little joke, utterly unnoticed by his father, is priceless! He’s a man of great humanity and benevolence, that Fisk Jr., isn’t he? A fictional man to fall in love with… And to be quite true, it strikes me that Mr. Jeremy Northam himself possesses quite a bit of good character attributes, too! (Contributed by Martina)

With Peter O'Toole in 'Dean Spanley'

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18. More wonderful moments from Henslowe Fisk, or Fisk Jr., or Young Fisk, as this adored character is variously known in Dean Spanley: the bit when Fisk Jr. tells his Dad to “shush” in the scene at the lecture; it’s just so funny, his expression and tone of desperation! This is my favorite of Jeremy’s films. (Contributed by Marie)

'Shush!'

Then there’s the funny little moment right after the scene in which Henslowe invites the Dean to dinner, offering him a fictional bottle of Tokay as enticement; he tells the cat stuck up in a nearby tree “I wouldn’t call it a lie, Puss. More like a truth deferred, nothing worse.” And don’t forget the sweet scene where Henslowe seeks motherly comfort from Mrs. Brimley; or his frustrated attempt to describe to Wrather the effect the Tokay had on Dean Spanley, “It was if his mind had slipped a cog”—Fisk Jr. is a bit “tiddly” himself during this scene; how moved he is by the end of the Dean’s story and by his father’s emotional response to it; and, finally, the poignant expression we can see in Fisk Jr.’s eyes over his father’s shoulder as the two men embrace.

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19. The enigmatic, quirky Dr. Matt Proctor in Miami Medical. Jeremy’s most recent character is also one of his best loved. Handsome, sexy, funny, compassionate, and great at his job—what’s not to love about Proctor? It was great seeing Jeremy in a contemporary setting and getting a chance to do some comedy as well. Because of the way the series ended—cancelled before it even had time to gain momentum—we were left with a lot of unanswered questions about the good doctor. But, then again, maybe that’s just the way MT-1’s resident Mystery Man would want it to be!

As Dr Matt Proctor, 'Miami Medical'

Some of our favorite DocProc moments: The duck-feather medicine hat scene with Tuck, riding his bike in a circle to help him solve a medical problem, and sitting on the roof wearing his scrubs and sunglasses. (Submitted by Gammie) I love the scene in Calle Cubana where he’s eating Pollo Versailles for breakfast and the one where he is introduced to Dr. Zambrano’s father—the original Dr. Zambrano—in Like a Hurricane. “So you’re the Englishman who took my little girl’s job?” “Well, that’s one way of describing my rather awkward ascent.” (Chosen by Joan) In the Golden Hour episode, a young mother dies and Dr. Proctor sees the father with his small child in his arms; Jeremy plays this scene with infinite sadness because Proctor’s medical skill was all in vain. That was great acting! (From Mary)

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20. His ability to embody the quality of stealthiness, which he displays in several of his characters. This dictionary entry for the term perfectly describes Wigram in Enigma: Marked by or acting with quiet, caution, and secrecy intended to avoid notice. Jeremy also conveys this characteristic of quiet, deliberate secretiveness in his portrayal of Balcombe in Glorious 39. (Suggested by Joan) “Suspicions” from Enigma:

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21. All those dark scenes in The Net where Jack Devlin is stalking Angela—in the car, around the amusement pier, and at the street parade outside the convention center. Another stealthy character from Jeremy!

As Jack Devlin, 'The Net' (with Sandra Bullock)

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22. The library scene from Piece of Cake.

Poor Fitz has an embarrassing problem and he decides to ask Intelligence Officer “Skull” Skelton (the excellent Richard Hope) for advice. This quiet moment from the 1988 miniseries shows Jeremy at the beginning of his career, when his acting experience was mostly in stage work. You can see he’s still learning how to act in front of a camera; the subtle changes of expression we now expect from him aren’t quite there yet. But watch the slight shake of his head and the confused expression that flashes over Fitz’s face at 1:50 of this clip. Jeremy shows us in the space of a millisecond that Fitz has never heard of Foyle’s, the book shop Skull is recommending. There’s a hint of the brilliance to come. And he’s thoroughly adorable to boot! (Chosen by Laura)

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23. Jeremy’s last scene in Enigma. I’ve always been a film buff and I’ve watched a good many movies. In times past I used even to visit the Berlin Film Festival. But very rarely was I touched by a movie in such a way as I was by Enigma. The second to last scene, at the pond, with Jeremy as Wigram and Dougray Scott as Tom Jericho, when Wigram says, “Oh I will, …I will” and then he disappears very slowly from view…that was when I got goose bumps! It was so well played, very great art! (Contributed by Mary)

As Wigram, 'Enigma'

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24. Jeremy, as Peter Warlock, playing the piano with Lily Buxton in Voices from a Locked Room. Until that point in the story, Lily (Tushka Bergen) is pretty freaked-out by Peter, but hearing the piece of music he’s written for her, and playing it with him, changes things. It’s a very intimate moment, with their hands together on the keyboard as they sit side by side. And when the music ends he looks adoringly at her from underneath his unruly mop of hair and says, “You’re the most beautiful thing I’ve ever known.” Jeremy is great in this movie as both Peter and Philip, but this scene is amazing!

As Peter Warlock, 'Voices' (with Tushka Bergen)

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25. His reading of The Silver Chair. Can you imagine my great delight when I discovered that my favorite actor is also a fantastic performer of audiobooks? That was a most welcome opportunity to do what my poor English teacher (I’m a German) was always recommending: “Learning by Listening”. So I started with The Silver Chair, by C. S. Lewis. Although since then Charles Ryder, Joe McGrath, George Orwell, James Wormold, Jack Miller, etc. have been my alternating tutors, it was Puddleglum in that first book who immediately won my heart! Jeremy did a marvelous job, lending his voice to a multitude of characters. He put life into every single creature and gave each one a fully realized range of emotions. Listening to Jeremy always means great fun and joy, means to dream and witness the story; he’s truly performing. This is a real talent Mr. Northam is sharing with us listeners! (Contributed by Martina) An excerpt from Chapter 7: Puddleglum gets drunk at the castle of the Giants of Harthang:

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26. The way he became Dean Martin in Martin and Lewis. This feat is especially impressive to me because of how extremely recognizable Dean Martin’s face and voice are to most Americans. Without any prosthetics or makeup to help him physically resemble Martin, Jeremy was able to embody the cool, sexy essence of the man. He captured Dino’s mannerisms, voice, facial expressions, and above all, attitude, so well that Jerry Lewis himself gave the performance his stamp of approval. (From Laura)

As Dean Martin, 'Martin and Lewis'

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27. The speech by Sir Robert Chiltern to Parliament in An Ideal Husband(from the American Rhetoric site). Follow the link for the transcript and an audio clip of the speech. http://www.americanrhetoric.com/MovieSpeeches/moviespeechanidealhusband.html (Chosen by Joan)

As Sir Robert Chiltern, 'An Ideal Husband'

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28. Two memorable scenes from Cypher. There’s a moment early on in the movie when Morgan Sullivan’s doing dishes in the kitchen with an apron on. His wife is in a power suit. He shyly and so proudly states he’ll be working as an “independent contractor.” It’s so touching. You have the sense that he’s trying to assert himself and is excited thinking about being a corporate spy, working at something new and maybe even dangerous. I just love that scene! It’s so small it’s easy to miss, but Jeremy turns it into a gem. The scene makes me think of the lengthy interview that was included in the Region 2 DVD. I remember Jeremy saying at one point in it, “Something has happened to [Morgan] in his life, we’re not quite sure what, that has made him such a meek soul….” He said it with such compassion. He felt that the character had been shaped and influenced by events in his life—which seems obvious, I know, but I think a lot of actors would just say, “I play a nerd.” (From Ansie)

Later on there’s another gem of a scene in which Morgan wakens in his hotel room to find Rita Foster (Lucy Liu) there to give him instructions. He asks if he can see her again. When she flatly tells him this isn’t possible, Morgan says “I’m never getting out of this, am I?” The hopelessness in his voice and on his face is very affecting, and it seems to touch Rita too, because it leads to their kiss.

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29. The way he was able to do so much with just a few scenes in Creation. Jeremy’s Reverend Innes has relatively little screen time, yet he’s not a two-dimensional character. You get a real sense of his inner struggle between his beliefs and his friendship with Charles Darwin. The scene in the garden with the two men sitting together on a bench is especially well done.

As Rev. Innes, 'Creation' (with Paul Bettany)

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30. The passage in Our Man in Havana where Jim Wormold goes into the American bank—Jeremy’s reading of this scene from the audiobook is priceless! Excerpt from Our Man in Havana:

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31. His entrance as Walter Hagen in Bobby Jones Stroke of Genius. I absolutely love this performance by Jeremy. When Hagen appears, stretched out in the back of his red convertible, still wearing last night’s tux and with a lipstick kiss on his cheek, I can’t help but smile.

As Walter Hagen, 'Bobby Jones, Stroke of Genius'

He then proceeds to make everyone wait while he grooms himself (“Genius deserves patience, my friend”), and touches up his chauffeur/caddy for money (“I’m afraid I’m a trifle soft in the treasury”). Next he introduces himself to Bobby, who tells him, “I know who you are. How do you do?” His priceless response is “Better than most, son. Better than most!” Jeremy gets all the best lines in the movie, and he delivers them flawlessly. Hagen could have come off as an arrogant jerk, but in Jeremy’s capable hands he’s an incorrigible scamp you can’t help but like. I cannot resist wicked “Sir” Walter’s mischievous charm! (Chosen by Laura)

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32. Jeremy’s wonderful, intimate, witty reading of “The Aspern Papers,” by one of his own favorites, Henry James. I am completely in love with it. My absolute favorite part, in danger of being worn out from repeat listenings, is the scene where our unscrupulous narrator thinks he’ll take a little look in Miss Bordereau’s “secretary” to see if he can discover (and steal) the elusive Aspern Papers, only to find that the spectral old lady is not asleep, but standing watching him, fully aware of what he is after. For the first time, he sees the old lady’s famed, extraordinary eyes … “she hissed out passionately, furiously, ‘Ah, you publishing scoundrel!’” Jeremy’s voice, barely above a whisper, makes my pulse race and the hairs on the back of my neck stand on end. It’s unforgettable. (From Gill)

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33 Three scenes from his brilliant performance as Sir Thomas More in The Tudors. Jeremy was magnificent in this role, doing justice to a complex historical figure’s legacy. However, these three scenes from the second season are worth particular notice. As in most of Jeremy’s scenes in The Tudors, some of the lines he speaks in each one are the actual words of Thomas More.

First, the visit to More by Bishop Tunstall (Gordon Sterne), who is on a fact-finding mission for King Henry. Jeremy’s every gesture, every expression has a purpose here; nothing is extraneous. “They shall Never Deflower Me”:

A conversation in the Tower between More and Thomas Cromwell. James Frain matches Jeremy note for note; the scene only gets better with repeated viewings. “Cromwell vs. More”:

And the trial scene. Jeremy’s sparse use of anger makes it much more effective when it eventually comes. Watch his face especially at 5:40-6:10 in this clip, as More is condemned to death. “The Trial of Thomas More”:

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34. The luncheon scene from The Statement, in which Jeremy does a wonderful turn at slicing the fish, and his Col. Roux comments that the woman behind him is staring because “it’s the first time she’s seen me in uniform”;

As Col. Roux, 'The Statement'

as well as the sexual tension that simmers just below the surface between Roux and Judge Livi (Tilda Swinton), especially in the overnight problem-solving session (“So, Colonel, we finally get to sleep together.” “I never thought you’d ask.”) and that positively erotic deleted scene where they pass a cigarette back and forth. (Contributed by Joan)

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35. Jeremy’s reading of “Ode to a Nightingale” by John Keats. Listening to him read this poem, one of my favorites, I can almost hear the nightingale singing his heart out “in full-throated ease.” Jeremy is a gifted poetry reader; his interpretations have given me new insight into poems both well-known and unfamiliar. (Picked by Laura)

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36. These favorite moments from The Misadventures of Margaret, in which Jeremy plays Edward Nathan, the English Lit. professor of your dreams: The way Edward looks at Margaret (Parker Posey) with love and pride when she’s accepting her award and the “lonely” scene where he’s walking around the empty apartment before he decides to join Margaret in France. So sweet! (Chosen by Gammie)

As Edward Nathan, 'Misadventures of Margaret'

And two scenes that show the influence of the 1937 screwball comedy, The Awful Truth, on Misadventures’ screenwriter/director Brian Skeet: at the beginning of the film, the snappy dialogue in the limo and the physical comedy of Edward putting Margaret over his shoulder and carrying her to the elevator come straight from the 1930s. “You’re aging,” Margaret tells her husband of seven years. “You’re helping,” he replies without missing a beat. One of Jeremy’s lines, “Ah, to have used up the best years in a young woman’s life…,” is almost word-for-word the same as one Cary Grant says in The Awful Truth. (From Gammie and Joan) The reconciliation at the end echoes the one in the earlier movie as well, although the Misadventures scene is sweeter. Edward, in dressing gown and bare feet, comes into Margaret’s room and tells her “All I know is that seven years ago, I took a teaching job at City [College] solely to be with you, and somewhere along the line I seem to have forgotten that. I don’t care what’s happened. I’m still in love with you.” (Suggested by Joan; Laura contributed the connection to The Awful Truth) The Reconciliation:

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37. That bittersweet last scene in Possession. Taken directly from A.S. Byatt’s novel, this scene lets the audience in on a secret that none of the characters know: Randolph Henry Ash knew he had a daughter. Jeremy plays the meeting between the two with his usual subtle brilliance. The expression on his face as Ash waves goodbye to the little girl is breathtaking—and heartbreaking!

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38. The way he mixes humor and gravity in his reading of George Orwell’s Down and Out in Paris and London. Sue Arnold, the audiobooks reviewer for the Guardian said of Jeremy’s reading, “It takes a wise, albeit worthy reader to appreciate that this sort of writing—stark, shocking and often hilarious (washing-up in Paris and being a tramp in London have their funny moments), needs no embellishment.” (Guardian, 12 Feb 2010) Listen to this excerpt for a very funny moment indeed!

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39. Jeremy’s scenes with Ally Walker and William H. Macy in Happy, Texas. We know he has great chemistry with his leading ladies, so it’s no surprise Jeremy and Ally Walker are great together. “Like Some Straight Guy Is Ever Gonna Say That”:

But who knew he’d be so funny and sweet with a guy? The scene where they dance together is a classic, of course, but I also like the comedic interplay between the two men in the scene that sets up their date, where Harry and Chappy go rabbit hunting. Watching these two wonderful actors together is a joy. Harry could have done a lot worse than end up with Chappy! (Chosen by Laura) “If You Were Gay”:

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40. How good he is at love scenes. This must be a nightmare for many actors. There you are, stripped bare (sometimes literally) and you have to kiss someone you may or may not like in a passionate, intimate and convincing way whilst a film crew intrudes to film your every writhing. There’s absolutely no fooling the camera, it reveals all with merciless candor, and yet I’ve lost count of the number of times I’ve watched films and TV dramas and groaned (or laughed!) as the actors fob us off by kissing each other’s chins and generate such lame chemistry that you feel they really must loathe each other, the artifice is revealed and the mood ruined. Not Jeremy. In keeping with his perfectionist attitude to the rest of his work, he is a fabulous film kisser. I could wax lyrical at greater length but perhaps a film clip will allow you to be the best judge! All I’ll add is my grateful thanks to him! (Contributed by Gill) Jeremy and Jennifer Ehle setting the screen on fire in Possession:

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41. He is absolutely the best at on-screen kissing! I remember, at one of the sites dedicated to Jeremy, a discussion of how he should give lessons to another (unnamed here) actor. There was no shortage of volunteers to help with the demonstration! (Chosen by Robyn) He got to kiss two leading ladies in The Golden Bowl, Kate Beckinsale and Uma Thurman, but it’s the ones with Uma’s Charlotte that are the real scorchers.

As Prince Amerigo, 'the Golden Bowl' (with Uma Thurman)

With Uma Thurman

And then there’s this kiss from Carrington, with Emma Thompson.

As Beacus Penrose, 'Carrington' (with Emma Thompson)

Even this sweet one between Mr. Knightley and his Emma has some passion to it.

As Mr. Knightley, 'Emma' (with Gwyneth Paltrow)

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42. Those smoldering kisses between Lily and Philip in Voices from a Locked Room, like the one at the piano, when Lily first visits Philip’s apartment, and the one on the train going to his mother’s house, when he proposes to her. (Suggested by Gammie)

As Philip Hesteltine, 'Voices from a Locked Room' (with Tushka Bergen)

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43. The way Jeremy uses his hands. The best example I can think of is when Randolph Henry Ash unlaces Christabel’s corset in Possession. Is there a more seductive moment on screen? (Chosen by Robyn)

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44. That wonderfully expressive face that conveys so much of a character’s inner life to the audience. Happy, Texas director Mark Illsley said he thought Jeremy “was the kind of actor who could do really small things really beautifully.” Jeremy Northam is not a scenery chewer. Oh, he can command the “big” moments with the best of them, but where he really excels is in the kind of scene I’ve taken to calling his How Does He Do That? moments. These are scenes where Jeremy uses the subtlest changes of facial expression to communicate volumes about his character’s mental and emotional state. There are many of these remarkable moments I could use as examples. Think of Mr. Knightley’s jealousy of Frank Churchill in the recital scene in Emma. Or, from The Tudors, Sir Thomas More’s despair when his daughter Margaret visits him in the Tower and begs him to take the Oath of Supremacy.

As Thomas More, 'The Tudors'

Or Matt Proctor’s anger and disgust as he listens to his patient Carla’s boyfriend explain why he can’t handle her paralysis in Miami Medical. None of these characters needs to state how he feels because the look on the man’s face has already said all we need to know. I’m in awe of Jeremy’s ability to portray so much so quietly. (Contributed by Laura)

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45. The irresistible Northam Smile! Look at it—it pierces you to the heart!

And he smiles a lot, that man. There is a saying: “A Smile is worth 1000 Words”; only too true in his case is all I can say. And Jeremy has mastered all the nuances of smiling: dangerous, secretive, heartfelt, dreamy, waggish, dashing, tender, knowing, naughty, shy…that list of adjectives could be continued as you like.

There is the little, hinted smirk—a barely visible, more one-sided twist of the corner of the mouth, accompanied by the proverbial twinkle of the eyes, along the lines of “If you could read my mind just now”.

Or that big grin, however the lips are tightly closed, as if somebody is perhaps afraid to show too much zeal? The easy laugh is only allowed to the eyes… “No, not a single syllable will leave my mouth!”

And then the gentle, calm smile, which shows the luscious but manly lips to their best advantage (ahem), with a stare into the distance, or you can call it a cutaway view, as if he wants to say:

I exist as I am, that is enough,

If no other in the world be aware I sit content,

And if each and all be aware I sit content.

One world is aware, and by the far the largest to me, and that is myself,

And whether I come to my own today or in ten thousand or ten million years,

I can cheerfully take it now, or with equal cheerfulness, I can wait.

―Walt Whitman, from “Song of Myself”

(Recited by Jeremy himself in The Misadventures of Margaret) (Contributed by Martina)

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46. All these great smiles:

As Anthony Jordan, 'A Village Affair'

As Edward Nathan, 'Misadventures of Margaret'

As Mr. Knightley, 'Emma'

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47. And all the Northam Smiles in this wonderful video by Princessamerigo. “When Jeremy Smiles”:

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48. His beautiful, silky voice. Even when reading various characters in his audiobook performances, his gorgeous resonant voice shines through! As adaptable as his voice is, it always sounds great. (suggested by Gammie) Here’s an excerpt from “For Special Services” by John Gardner.

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49. His wonderful and rich singing voice. As Ivor Novello in Gosford Park, Jeremy so delighted us when he performed several of Novello’s songs that we perk up our ears whenever a Northam character breaks into song—usually for just a few short bars—like Miami Medical’s Dr. Matt Proctor singing “I’m Looking Over a Four-Leaf Clover,” or the Rev. Innes leading the congregation in “All Things Bright and Beautiful” in Creation. In Gosford Park, Jeremy handles the jaunty humorous tunes and the serious love songs equally well. And his interpretation of “The Land of Might-Have-Been” is achingly beautiful. (Submitted by Ansie) “The Land of Might-Have-Been”, from the Gosford Park OST:

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50. Because he looks like this!

We love him for his intelligence, his prodigious talent, and the warmth and humor he displays in interviews, but there’s no denying that Jeremy is one beautiful, sexy man. Fifty is going to look fabulous on him!

Thank you for all the wonderful entertainment you’ve given audiences over the years, Jeremy! We eagerly anticipate seeing you next year on television in White Heat and in your return to the stage in Hay Fever.

We wish you a Very Happy 50th Birthday today. May happiness, love, good health, and many choice roles be yours for at least another fifty years!

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Thank you to everyone who has contributed to this special birthday post, and extra special thanks to Laura for having the idea and for curating it so beautifully.

If you’d like to send personal birthday wishes to Jeremy, you can do so at our Just Giving page.

And so, I am delighted to launch our 2011 READ-A-THON!

You can read all about how to get involved here. Don’t forget, we have some fantastic and very tempting auction lots you can bid on, and, if the mood takes you, you can leave a donation at Just Giving.

We look forward to hearing about your choices and your progress! Good luck!

I’ve been rather overwhelmed by the generosity of our members and contributers to this blog and I’m delighted to tell you we have some really fantastic auction lots coming up. I’d like to send a huge thank you to everyone who has contributed items for auction.

The first one to go live is very special. It’s a signed, hardback copy of Derek Robinson’s wonderful WWII novel Piece of Cake. As some of you may recall, Derek very kindly spoke to this blog about the tv series based on his book, and we were also lucky enough to hear from actor Richard Hope, whose excellent portrayal of Skull Skelton was so memorable. Find out more about the auction lot, and how to bid here.

I have some other rather special lots coming up, including another signed book, some tickets for a performance at the Bristol Old Vic, an audiobook from Silksound, DVDs and even some chocolate! I think you should all find something you like! Keep an eye on this page here for all the lots as they become available for bidding.

Jeremy Northam Chat will also be running some auctions of its own, so do visit to take a look at what they will be. I believe they will go live very soon.

In addition to the auctions (or instead of, if you prefer), you can make a donation and send birthday wishes and thanks to Jeremy by visiting our Just Giving page. No donation is too small, and every penny goes to help train talented students become the great actors of the future.

These days to be a fan of Mr. Jeremy Northam means

to be not fully at ease and to cancel some dreams!

On our side there’s always a sort of trembling,

How he can hold his own in that movie world gambling.

“Let`s wait and see” is the motto,… but also a bit of a quiver,

if ever again, and, if so, what at last he will deliver?

A new movie, a TV-series or at least an audio-book? -

I dare say we don’t mind, out for only something we look!

Though our devoted group is willing to wait patiently,

It just happens that we get frustrated occasionally!

This and that hearing about Hollywood’s plans,

of ambitious movies, alas, Jeremy? – sans!

The obvious blindness of directors and producers,

And their odd decisions serve to confuse us!

Their constant betting on the same big names,

appears to be part of celebrity-games!

Since we know that “our man” is not inclined to do those,

We cannot do otherwise but call out loud: “Kudos”!

He prefers independence in film and in mind,

to make a great stir ? – he’s not of that kind!

But we cannot deny that it’s stretching our nerves,

That others earn glory which he also deserves!

And as much we appreciate his private style of life,

Our secret hopes for his career are with that at strife.

It’s none of our business, the choices he takes!

And for really true fans no difference it makes.

Whether to exercise restraint before risking one’s neck,

well…, in a sort of shark tank – so what the heck?

Could it just be that he, a person of intelligence

Is  one step ahead to conceive an important essence?

“Not everything is always there on a golden plate for you”,

It’s no good  “Wanting to have one’s cake and eat it, too!”

So let’s remain decent! –  the faithful fan declares,

and nicely accept the current state of affairs!

A well- earned break, even a longer vacation,

Will never impair our great admiration-

for the body of work, he’s already achieved;

in fact there is nothing to be deeply grieved!

If only he’s at peace and in a good mood,

we’ll be content a while longer with canned food!

by Martina

Jeremy is to play Richard Greatham, Lindsay Duncan is Judith Bliss, with Kevin McNally as her husband David, and Olivia Colman is Myra Arundel. More information available here: Official London Theatre.

Tickets are already on sale here.

Here’s the press release in full:

COWARD AT THE COWARD:

HOWARD DAVIES TO DIRECT LINDSAY DUNCAN, JEREMY NORTHAM, KEVIN MCNALLY & OLIVIA COLMAN IN NOEL COWARD’S H A Y   F E V E R 

For the first time since its renaming and refurbishment, one of Noël Coward’s most well known plays will be performed at the Noël Coward Theatre.  Howard Davies is to direct Lindsay Duncan in Coward’s Hay Fever, reuniting the director and actor who together received seven major international theatre awards for their 2001 collaboration on Coward’s Private Lives.  Duncan is joined by Jeremy Northam, Kevin McNally and Olivia Colman in Coward’s sublime comedy of bad manners.  

Running at the Noël Coward Theatre from 10 February – 2 June 2012, Hay Fever has designs by Bunny Christie, lighting by Mark Henderson and sound by Mike Walker.  Press preview performances are Thursday 23 February at 7pm, Friday 24 February and Saturday 25 February at 2.30pm and 7.30pm, with reviews embargoed until Monday 27 February 2012.  Hay Fever is produced in the West End by Richard Willis, Matthew Byam Shaw for Playful Productions and Sonia Friedman Productions.  Further casting will be announced shortly.

Judith Bliss, once glittering star of the London stage, now in early retirement, is still enjoying life with more than a little high drama and the occasional big scene. To spice her weekend up, Judith invites a young suitor to join her in the country. However, her novelist husband, David, and her two eccentric children, Simon and Sorel, have had the same idea for themselves and any hope for private flirtation disappears as the family’s guests begin to arrive.  Misjudged meetings, secret seductions and scandalous revelations all run riot at the most outrageous of all house parties.

In 1920 Noël Coward made his stage debut at what was then known as the New Theatre in his own first play, I’ll Leave It To You.  In 1973 the theatre was renamed the Albery and subsequently, in 2001, Lindsay Duncan and Alan Rickman played Amanda and Elyot in Coward’s Private Lives to great critical acclaim.  In June 2006 the theatre was renamed once again as the Noël Coward Theatre when the building underwent major refurbishment including the naming of the two principal dressing rooms as Noël and Gertie, the latter being Coward’s favourite leading lady, Gertrude Lawrence.

Cameron Mackintosh said: “I’m delighted to be able to have our first Coward play at the theatre since it was renamed after The Master. Truly one of Noël’s masterpieces, Hay Fever promises to be as great an evening at this theatre as Howard Davies’ Private Lives a few years ago, also starring the delicious Lindsay Duncan.  I am also delighted to welcome to the salon of the Prince of Wales Theatre, Noël’s beloved grand piano on which he composed so many of his wonderful songs.  His talent to amuse lives on forever.”

Playwright, composer, director and actor Noël Coward wrote Hay Fever in 1924 and it was first produced a year later at the Ambassadors Theatre.  Coward wrote over 50 plays during his career including Private Lives, Design for Living, Present Laughter, Blithe Spirit and Hay Fever.  His many compositions include Mad Dogs and Englishmen, A Room with a View and Mrs Worthington, and his film credits include Brief Encounter, The Vortex and The Italian Job.  Coward was knighted in 1970.

Double Olivier award-winner Lindsay Duncan (Judith Bliss) has worked extensively for the National Theatre where her credits include Plenty, The Homecoming and Cat on a Hot Tin Roof, and for the Royal Shakespeare Company in productions including A Midsummer Night’s Dream, The Merry Wives of Windsor and Les Liaisons Dangereuses.  In the West End she has been seen in The Cryptogram, That Face and Noel Coward’s Private Lives.  For the Royal Court her credits include the original production of Top Girls as well as Ashes to Ashes and Mouth to Mouth.  For the Almeida Theatre her credits include Celebration and The Room.  On television she has recently appeared as Alex Cairns in Black Mirror – The National Anthem and The Duchess of York in Rupert Goold’s Richard II.  Her other television credits also include White Heat, Dr Who, the title role in Margaret,  as well as Lost in Austen, Longford, Rome, Shooting the Past and Perfect Strangers, The Rector’s Wife, A Year in Provence, GBH  and Traffik.  Her film credits include Tim Burton’s Alice in Wonderland, Starter For Ten, Mansfield Park, An Ideal Husband and Prick Up Your Ears.

Olivier award-wining Jeremy Northam (Richard Greatham) was most recently on stage at the Donmar Warehouse in Old Times.  His other theatre credits include Love’s Labour’s Lost and The Country Wife for the Royal Shakespeare Company, Certain Young Men for the Almeida Theatre and The Voysey Inheritance at the National Theatre.  He has most recently been seen on television in Stephen Poliakoff’s Glorious 39 and as Thomas More in The Tudors.  His other television credits include White Heat and Journey’s End.  Northam’s film credits include Creation, Dean Spanley, A Cock and Bull Story, Gosford Park (in which he played Ivor Novello), The Winslow Boy, An Ideal Husband, Happy Texas, Possession, Emma, The Net and Carrington.

Kevin McNally’s (David Bliss) most recent stage credits were as Claudius in Hamlet and Lebedev in Ivanov, both for the Donmar Warehouse at Wyndham’s Theatre.  Previously his extensive theatre credits include Boeing Boeing, The Lady in the Van, Naked, Dead Funny and The Iceman Cometh. On television he can soon be seen in ITV1’s Downton Abbey.   His other television credits include New Tricks, Life On Mars, Margaret, Bloodlines, Dunkirk, Spooks, Shackleton, Rab C Nesbitt, Enigma and Diana.  McNally’s many film credits include the role of Joshamee Gibbs, Captain Jack Sparrow’s first mate in The Pirates of the Caribbean films, The Raven (to be released next Spring), Valkyrie, De-Lovely, The Phantom of the Opera, Johnny English, Sliding Doors, Irish Jam and Entrapment.

Olivia Colman’s (Myra Arundel) theatre credits include England People Very Nice for the National Theatre, The Three Some for the Lyric Hammersmith and A Long Day’s Journey Into Night at the Lyric Theatre.  Her upcoming film credits include The Iron Lady directed by Phylidda Lloyd and Hyde Park on Hudson.  Her other film credits include Tyrannosaur, Dog Altogether, Grow Your Own, I Could Never Be Your Woman and Hot Fuzz.  On television she is best known for playing Sophie Chapman in the Peep Show series and Harriet Schulenburg in the Green Wing series.  Her other television credits include The Baader Meinhof Gang series, Exile, Doctor Who, Beautiful People, Consuming Passion, That Mitchell and Webb Look, Hancock and Joan, Love Soup, Much Ado About Nothing, Ny-Lon  and The Office.

Multi award-winning Howard Davies is an Associate Director of the National Theatre where his many productions include The Cherry Orchard, The White Guard, Burnt by the Sun, The Taking Cure, Flight, Present Laughter and Mourning Becomes Electra.  For the Almeida Theatre, where he was also Associate Director, his productions include Period of Adjustment, The Play About the Baby, The Iceman Cometh and Who’s Afraid of Virginia Woolf?   At the Royal Shakespeare Company he produced 26 new plays in 4 years at the Warehouse Theatre which he established and ran.  His other RSC credits include The General from America, Les Liaisons Dangereuses and Jail Diary of Albie Sachs.  In the West End Davies’ directing credits include All My Sons, The Breath of Life and Noel Coward’s Private Lives.  His many Broadway transfers include A Moon for the Misbegotten, The Iceman Cometh, My Fair Lady, Cat On A Hot Tin Roof and Les Liaisons Dangereuses.

Listings Information: HAY FEVER

Dates: 10 February – 2 June 2012

Press performances: 23 February at 7pm, 24 February at 7.30pm, 25 February at 2.30pm and 7.30pm

Reviews embargoed until 27 February

Address:  Noël Coward Theatre, St Martin’s Lane, London, WC2N 4AU

Performances: Monday – Saturday at 7.30pm

Wednesday and Saturday matinees at 2.30pm

First Wednesday matinee: 29 February

Box Office: 0844 482 5140

Ticket prices: £16 – £53.50 plus concessions

Day Seats: a limited number of £25 best front row stalls seats will go on sale at the Box Office at 10am on the day of each performance

Website: www.hayfeverlondon.com

by Gill

Kevin McNally

Howard Davies, like Jeremy, has links to the Bristol Old Vic (Mr Davies worked with them in the 1970′s and Jeremy trained there) and there’s a further link: he has worked extensively with the National Theatre, directing Jeremy in The Shaughraun in 1988.

At the moment, Kevin McNally is definitely confirmed as being involved, and unconfirmed reports link Lindsay Duncan and Olivia Colman to the production. Lindsay Duncan appeared in Davies’ successful production of another Coward play, Private Lives (co-starring Alan Rickman) in 2002.

Noel Coward

We think that Jeremy will be playing David Bliss. For those unfamiliar with the play, Hay Fever is a sparkling comedy, written in 1924 and first performed in 1925 at the Ambassadors and Criterion theatres. David Bliss is a retired novelist, his wife is a retired actress, and they have two children. The play revolves around a weekend during which the family, and their house guests, encounter a range of  arguments, misunderstandings and surprises with hilarious results and typical Cowardian wit. Based on Coward’s experiences of visiting the American actress, Laurette Taylor at her home (Laurette, apparently, didn’t confine her love of drama to the stage), Coward later said, in Present Indicative:

On Sunday evenings… we had cold supper and played games, often rather acrimonious games, owing to Laurette’s abrupt disapproval of any guest (whether invited by Hartley, Dwight, Marguerite, or herself) who turned out to be self-conscious, or unable to act an adverb or a historical personage with proper abandon. There were also, very often, shrill arguments concerning rules. These were waged entirely among the family, and frequently ended in all four of them leaving the room and retiring upstairs, where, later on, they might be discovered, by any guest bold enough to go in search of them, amicably drinking tea in the kitchen.
It was inevitable that someone should eventually utilize portions of this eccentricity in a play, and I am only grateful that no guest of the Hartley Manners thought of writing Hay Fever before I did.

When you read what Coward had to say about Hay Fever, in Play Parade, about the skill required for this play to be successful, then you can see what a treat it will be to see Jeremy in this production:

Hay Fever is considered by many to be my best comedy. Whether or not this assertion is true, posterity, if it gives it a glance, will be able to judge with more detachment than I. At any rate it has certainly proved to be a great joy to amateurs, owing, I suppose, to the smallness of cast, and the fact that it has only one set, which must lead them, poor dears, to imagine that it is easy to act. This species of delusion being common to amateurs all over the world, no word of mine shall be spoken, no warning finger of experience raised, to discourage them, beyond the timorous suggestion that from the professional standpoint, Hay Fever is far and away one of the most difficult plays to perform that I have ever encountered. To begin with, it has no plot at all, and remarkably little action. Its general effectiveness therefore depends upon expert technique from each and every member of the cast. I am very much attached to Hay Fever. I enjoyed writing it and producing it, and I have frequently enjoyed watching it.

I’m sure we will all enjoy watching it too. Of course, actors are notoriously changeable creatures, it is early days, and other projects may materialise which may take priority. I will, of course, keep you updated when I know more. But for now, this is wonderful news. To see an actor on stage is a rare and memorable experience.

by Gill

This year, it will be Jeremy’s 50th birthday, and I wanted to do something special to show our appreciation for Jeremy’s work. Many actors prefer charitable donations in their name to personal gifts, so this seemed like an appropriate and respectful thing for us to do for our very private favourite actor. We will be able to send our good wishes to Jeremy and help other actors become the Jeremy Northams of the future. The School has trained many distinguished actors, including Patrick Stewart, Jeremy Irons, Pete Postlethwaite, Miranda Richardson, and Daniel Day-Lewis.

Jeremy Northam in 'The Voysey Inheritance' at the NT, for which he won an Olivier in 1990

I will be giving you more information in a future blog post about the Theatre School and the work it does, including how funds will be used to help students.

So, how will we be able to send good wishes to Jeremy and help the Bristol Old Vic Theatre School? There will be an online Just Giving page where we can make donations and leave a message for Jeremy. Jeremy can view the Just Giving page, and he will be sent (via his agent) a regular update of funds raised in his honour.

In addition, the Blog and Jeremy’s fansites will be running some sponsored events you can get involved with, plus some auctions*. There will be more information about the sponsored events and auctions very soon, but I am delighted to be able to tell you that the Theatre School have already offered some tickets to one of their performances, plus a chance to see some of their students in rehearsal, as auction lots. So start saving up now!

As Berowne, 'Love's Labour's Lost', RSC at the Barbican, 1994

I have seen a Just Giving page in action for actor Toby Stephens, raising funds for LAMDA where Toby trained. This fund is in place with Toby’s knowledge and blessing, is very well (and respectfully) run by his fans, and Just Giving moderate the comments on their pages.

As regular Blog readers will know, we can’t expect Jeremy to actively participate, but he does know what we are doing. Of course, I hope we keep it running after Jeremy’s birthday so it’s possible to wish him good luck when a new film opens or tv drama is broadcast, and for future birthdays.

I hope you are as excited about this as I am! Please do check back often as there will be updates and more information very soon.

*If you are able to donate something for us to auction, we would be more than delighted. Please contact me if so: henrysmummy@talktalk.net

by Gill

Jeremy plays Edward, a politician, who is father to Sam Claflin’s character, Jack. From following some of the actors on Twitter (Sam Claflin, MyAnna Buring and Lee Ingleby) it seems to have been quite an emotional shoot. That’s not surprising when you consider the story takes seven friends from 1965 (coincidentally, my own year of birth) to the present day, as the press release describes:

The series follows them over four decades as their lives, loves and destinies are shaped by the political events of each era – from the death of Churchill, the union strife of the Seventies, the ascendancy of Thatcher, the Falklands, Aids, the end of the Cold War to the present day. Their interwoven personal lives played against the backcloth of these crucial events converge to make them the people they are today.

The young cast will be replaced, as the seven main characters, by more mature actors as the six episodes progress (including Michael Kitchen, Juliet Stevenson, Hugh Quarshie and Lindsay Duncan). At the time of writing, I’m not sure how many of the six episodes will feature Jeremy’s character.

Watch this space, though, because I will have plenty of information and features on the drama ahead of transmission …

The BBC press release in full:

Sam Claflin (Pirates Of The Caribbean: On Stranger Tides, United), Claire Foy (Little Dorrit, The Promise), Reece Ritchie (Prince Of Persia: The Sands Of Time, Pete Versus Life), Lee Ingleby (Being Human, Inspector George Gently), MyAnna Buring (The Twilight Saga, Any Human Heart), David Gyasi (Red Tails, Murderland) and Jessica Gunning (Law & Order UK, Doctor Who) will star in White Heat, a new semi-autobiographical drama series written by award-winning writer Paula Milne (Endgame, Small Island, The Virgin Queen, The Fragile Heart, The Politician’s Wife) and produced by ITV Studios for BBC Two.

Paula Milne says: “Getting the right cast for White Heat was crucial not least because it spans half a century. It means our young cast must age from 18 to early forties when the older cast take over. Our young cast are all riding the crest of their own burgeoning, brilliant careers – like the characters are when we first meet them. It takes more than talent to take us on their epic journey through the decades – it takes insight and extraordinary maturity and they have that too. They all say they are lucky to play such parts. Me, I think we are lucky to have them.”

This ambitious series charts the lives of seven friends from 1965 through to the present day. Their relationships; complex, volatile, life affirming and life changing start when they come together as a diverse group of young students to live as flat mates in London’s Tufnell Park: rebel with a cause Jack (Claflin), intelligent feminist Charlotte (Foy), fragile beauty Lilly (Buring), medical student Jay (Ritchie), electronics enthusiast Alan (Ingleby), law student Victor (Gyasi) and big-hearted Orla (Gunning).

The series follows them over four decades as their lives, loves and destinies are shaped by the political events of each era – from the death of Churchill, the union strife of the Seventies, the ascendancy of Thatcher, the Falklands, Aids, the end of the Cold War to the present day. Their interwoven personal lives played against the backcloth of these crucial events converge to make them the people they are today.

Ben Stephenson, Controller of BBC Drama Commissioning says: “The cream of new British acting talent have been cast to star in Paula Milne’s White Heat, an epic story of our times told through the eyes of seven amazing characters, which will continue BBC Two’s commitment to original drama in 2012.”

Filming will begin next week on location in London. Executive Producers are Kate Bartlett and Paula Milne for ITV Studios and Lucy Richer for the BBC. Elinor Day is Producer and John Alexander (Small Island, Exile) is Director.

White Heat is a truly original piece that continues to signal BBC Two’s confident new direction following the re-birth of drama on the channel, commissioned by Ben Stephenson, Controller, Drama Commissioning, and Janice Hadlow, Channel Controller, BBC Two.

by Gill