As the writer turns 80, his masterful adaptation of the French novel is being revived at the National Theatre. It highlights his lifelong interest in political power play

I once dubbed Christopher Hampton, who celebrates his 80th birthday this month, “the quiet man of British theatre”. By that I meant that he was less prone to expressing his views in opinion pieces than contemporaries such as David Hare and David Edgar. The term also implied that his plays possessed a less idiosyncratic style than the work of, say, Harold Pinter or Tom Stoppard. But I suspect that Hampton’s regard for the classical virtues of objectivity, lucidity and irony means that his work will prove as durable as anyone’s.

He is also, as I have seen, a man of considerable private passion. One incident in particular is branded on my memory. In November 1990 I was one of a group, including the director David Leveaux and set designer Bob Crowley, despatched by the British Council to Cairo to give a number of talks ahead of a visit by the National Theatre. We were privileged to be given a private night-time tour of the pyramids and were enjoying a quiet drink in the neighbouring hotel in Giza when in burst Hampton, who had just arrived from London. “Have you heard the news?” he cried. “Mrs Thatcher has been attacked in the Commons by Geoffrey Howe and it looks as if she’s in trouble.”

As the writer turns 80, his masterful adaptation of the French novel is being revived at the National Theatre. It highlights his lifelong interest in political power play

I once dubbed Christopher Hampton, who celebrates his 80th birthday this month, “the quiet man of British theatre”. By that I meant that he was less prone to expressing his views in opinion pieces than contemporaries such as David Hare and David Edgar. The term also implied that his plays possessed a less idiosyncratic style than the work of, say, Harold Pinter or Tom Stoppard. But I suspect that Hampton’s regard for the classical virtues of objectivity, lucidity and irony means that his work will prove as durable as anyone’s.

He is also, as I have seen, a man of considerable private passion. One incident in particular is branded on my memory. In November 1990 I was one of a group, including the director David Leveaux and set designer Bob Crowley, despatched by the British Council to Cairo to give a number of talks ahead of a visit by the National Theatre. We were privileged to be given a private night-time tour of the pyramids and were enjoying a quiet drink in the neighbouring hotel in Giza when in burst Hampton, who had just arrived from London. “Have you heard the news?” he cried. “Mrs Thatcher has been attacked in the Commons by Geoffrey Howe and it looks as if she’s in trouble.”

As the writer turns 80, his masterful adaptation of the French novel is being revived at the National Theatre. It highlights his lifelong interest in political power play

I once dubbed Christopher Hampton, who celebrates his 80th birthday this month, “the quiet man of British theatre”. By that I meant that he was less prone to expressing his views in opinion pieces than contemporaries such as David Hare and David Edgar. The term also implied that his plays possessed a less idiosyncratic style than the work of, say, Harold Pinter or Tom Stoppard. But I suspect that Hampton’s regard for the classical virtues of objectivity, lucidity and irony means that his work will prove as durable as anyone’s.

He is also, as I have seen, a man of considerable private passion. One incident in particular is branded on my memory. In November 1990 I was one of a group, including the director David Leveaux and set designer Bob Crowley, despatched by the British Council to Cairo to give a number of talks ahead of a visit by the National Theatre. We were privileged to be given a private night-time tour of the pyramids and were enjoying a quiet drink in the neighbouring hotel in Giza when in burst Hampton, who had just arrived from London. “Have you heard the news?” he cried. “Mrs Thatcher has been attacked in the Commons by Geoffrey Howe and it looks as if she’s in trouble.”