Scotch producers are donating a further £100k to groups working to combat alcohol-related harm.
Sir Ian McKellen steps out into the cool Norfolk air, taking a breath during the interval of his one-man show at the Norwich Playhouse. ‘Here, I know you!’ pipes up a woman delivering pizzas nearby. ‘You’re in all them Harry Potter films, aren’t you?’
Understandable as it may be to mistake Gandalf for Dumbledore, it’s quite a put-down for one of the greatest and most versatile actors of his generation. Included in the price of fame, it seems, is the possibility that people might almost – but not quite – know who you are.
Like any good pro, Sir Ian uses the self-effacing story in the second half of the show, which combines autobiographical anecdotes with a kind of ‘greatest hits’ package of readings, from Tolkien to Shakespeare via D.H. Lawrence and Gerard Manley Hopkins.
We begin with Gandalf in Moria, and close, more than two hours later, with Prospero in The Tempest. It’s that kind of show; it’s been that kind of career, for a man who’s played King Lear three times, but was also Magneto in X-Men and – fulfilling a dream – did 10 episodes of Coronation Street.
Eighty not out: Sir Ian McKellen is currently touring the UK’s theatres (Photo: Oliver Rosser/Feast Creative)
Most of the show’s second half is dominated by a formidable pile of books: 37 Shakespeare plays (the first folio plus Pericles), with the audience invited to shout out the titles, prompting a succession of reminiscences and readings from Sir Ian.
Eventually we come to Richard III. ‘First word of the play?’ Sir Ian asks. People shift uncomfortably, momentarily transported back to the classroom, but many find the right answer (we’re a cultured bunch in Norfolk): ‘Now.’
‘Now,’ Sir Ian nods. ‘Now! What an opening word for a play! Now! “Now” is the theatre. This…’ – arms spread wide to take in stage and auditorium – ‘is now. It’s not last night’s performance, it’s not next weekend in King’s Lynn. They’ll be different. This is it. Now.’
If ‘now’ sums up the theatre, it must also acquire added weight and poignancy for a near-octogenerian actor whose recent King Lear was likely, he said, to be his last major Shakespearean role; an actor for whom this formidable tour of the UK has the air of one long, extended encore. Mind you, judging by the way he bounds up the steps at the end of the performance, he’s likely to be doing this for some time to come.
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But ‘now’ also represents the ultimate embrace of the present; the stripping away of experience and preconception to focus on the moment and to truly live it, to devour it and, in turn, to be consumed by it.
Do we do that with whisky? And, if we do, do we do it nearly often enough? Or are we beset by nagging internal voices, telling us what to expect long before glass reaches nose and lips? Warning us, cajoling us, telling us what others have already said, or what we think they might think?
Do we empty our minds and allow the purity of that moment to emerge, opening ourselves to the possibility that, even if it’s a whisky we’ve tasted 100 times before, it might yet surprise us, astonish us, yield up some hitherto undiscovered element of its essence? Do we do that? Sometimes, maybe, but I think we could do it more. I know I could.
‘I once asked Michael Gambon if the same thing ever happened to him,’ Sir Ian tells us, once the laughter at the Gandalf/Dumbledore story has subsided. He moves into a passable imitation of his fellow actor’s slurred drawl. ‘Oh, my dear boy! Of course it does – it happens all the time!’
‘So what do you say to them?’
‘Nothing, of course. What can I say? I just sign your name.’
Ian McKellen on Stage: with Tolkien, Shakespeare, Others and You is currently touring the UK and raising funds for local theatres. Tickets from the official website.
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