I had the happy privilege of working with Luc Bondy twice – in Martin Crimp’s Cruel and Tender and David Harrower’s Sweet Nothings, both at the Young Vic theatre, London. From the moment I met him it was clear that he was the rarest of birds. He had the ability to release actors to explore beyond our self-imposed limits. He would press and cajole, tickle and inspire, poke and twist until a moment or sequence worked; he would then head off – with the same sequence – in another direction entirely, until it worked that way as well.
He once said he had the theatrical equivalent of perfect pitch, and he was right. He would orchestrate a play with impeccable sensitivity – the astonishing first act of Sweet Nothings was proof of this. If it felt wrong to Luc, it was wrong. He was an elegant dresser, with the twinkliest of eyes and a laugh like a warm bark – he was the best of companions.
Continue reading...