Last week, my mum and I had a trip to London to see Noel Coward's Private Lives, which is currently playing at the Vaudeville Theatre.
Instead, I went along to another exhibition currently showing at the V&A which I've been wanting to visit: Horace Walpole and Strawberry Hill. I've been interested in Walpole (the son of our first Prime Minister, Sir Robert Walpole) ever since I read his Gothic fantasy The Castle of Otranto, and he's even cropped up in the course of my research as he owned a manuscript version of a text of Sir W's (The Encomium of Richard III) which I've been working on recently. Walpole was one of the greatest collectors of the eighteenth century, and the exhibition was
filled with fascinating objects and paintings from his Gothic pile Strawberry Hill, such as this cabinet of curiosities:
Photo via the V&A website
Strawberry Hill, which stands on the outskirts of London in Twickenham, is currently being restored, and will be re-opening to the public later this year on Walpole's birthday: 24th September. I for one will definitely be going along to explore it!
After wandering around the atmospheric exhibition, my mum and I went for tea and cakes in the V&A's magnificent cafe, where I marvelled anew at the glittering chandeliers...
... intricately decorated ceilings and pillars ...
... and spectacular fireplaces:
On the way out, I admired the combination of ancient and modern...
I managed (with some difficulty!) to wangle a taste (in the name of research, of course) and can report that they were absolutely superb, and accompanied by a deliciously rich home-made mayonnaise. For the main course, I went for steak tartare, which I always enjoy. Quo Vadis's take on this French classic was good, and although I generally prefer it when the egg is already mixed in, I can't deny it looked very pretty:
Photo via the Vaudeville Theatre website
The sparks simply flew between Macfadyen and Cattrall: the scene in which the two bickering ex-spouses count down the seconds during an enforced two-minute silence was filled with a bristling, hilarious tension, while the climatic fight scene between the supposedly happily reunited couple at the end of the second act was spectacularly well done. The leads did an excellent job of portraying the love-hate relationship between Amanda and Elyot, while the looks upon their faces during the spat between Victor and Sybil at the play's end said it all. Caroline Lena Olsson, playing Amanda's French maid in Paris, also displayed some great comic timing -- there was simply not a bad performance in sight.
All in all, a wonderful day, full of several delights. To quote Sir W (in his 1601 essay 'Of Popularitie'), it was one whose
'satisfaction rested as much in the varietie, as in the proffit'.