That’s good fun as a playwright-seeing what you see in the actor and bringing it out. I was choosing a few cuts, fitting the collar to the actor.
It was a process I really enjoyed, a bit of bespoke tailoring fitted for Nicole and Iain Glen. “I wrote what I wanted to write,” Hare says today, “then did fiddling around for Nicole to play to her strengths. As he wrote in the New York Times in November 1998, he treated “Schnitzler’s text as a starting point for a more modern, maybe more romantic view of sexual yearning.” When he was finally done writing and rewriting it, he wrote, even he wasn’t sure “about who exactly is the principal author of the play.” It’s a work with which people have been very free.” When Ophuls made his film, he used no more than a fifth of the original text. “He never imagined it, partly because they were obscene and partly because they weren’t really in a dramatic form. “Schnitzler wrote his scenes never intending for them to be performed,” Hare says. But encouraged by Mendes-"he said, ‘Why don’t you just try?’"-Hare wrote the play in just a few months. Noting that he’d earlier adapted Chekhov, Brecht and Pirandello and was in each case “very faithful” to the text, the 54-year-old playwright says he was initially wary about making so many changes to Schnitzler’s play. He apparently looked a bit before he leaped, however. He took the idea to Hare and, says Kidman, “David jumped on board.” Over lunch, she and Mendes discussed working together, and he suggested a contemporary “La Ronde” done with two actors. Playwright Patrick Marber (“Closer”) introduced Kidman to Sam Mendes, artistic director of the small but high-profile Donmar Warehouse. Kidman was in London making “Eyes Wide Shut,” the late Stanley Kubrick’s 1999 film based on a Schnitzler novel.
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