Worse b4 Better

61st Birthday One Week Later Than Planned.....

Birthday Redux

And so, dear reader, my previous blog explained that I contracted 

SARS-CoV-2 (severe acute respiratory syndrome coronavirus 2)

aka Covid-19

and that I hijacked a Craig David song to explain the Week 1 journey which largely involved coughing and a sore throat. Well, Week 2 has not been the same and involved silent hypoxia (ie low oxygen levels without realising) and a feverish temperature. Floppy boneless limbs applied to both weeks. Covid is a peculiar disease:

• Some, like me, have an “OK” first week, a shocking second week and then recover
• Some people are asymptomatic and hardly know they’ve had it
• Some people deteriorate rapidly and die
• Some people become very ill for a long time
• Some people, like me, develop silent hypoxia from which you can recover (as I did) but which can alternatively lead to a sudden plummeting of health, becoming desperately breathless and hospitalisation 
• And there are many variations and gradations between.

I’m in the recovery stage now, building up stamina, breathing consciously and deeply, increasing the walking distance each day, resting between exertions….

Anthony Quinn, Peter O'Toole, Omar Sharif

It is written…. Nothing is written….

A highlight of sofa-flopping has been indulging in long movies – like the widescreen version of Lawrence of Arabia (1962), a still astonishing feat of cinematography, editing and design with pitch-perfect performances, overwhelming music, and iconographic moments like the above entrance of Omar Sharif in the far distance, like a shimmering mirage; and the jump cut below between a burning match and the rising sun. Lawrence’s epic journey(s) through the burning deserts were a good match for how I felt dredging through my body’s responses to Covid-19. When William Potter burns himself extinguishing a match between his thumb and forefinger, he challenges Lawrence to explain “What’s the trick, then?” Lawrence answers: “The trick….is not minding that it hurts.”

Silenzio, Bruno

An altogether jolliier experience was the film that capped my delayed birthday – the Disney-Pixar film Luca, ravishingly animated and charmingly told. The themes were clear as an Italian blue sky: helicopter-parenting, family – both blood and constructed, unconventional-friendships, deceit, bullying, outsiders, prejudice, escape/freedom….

Learning to dance in the rain

GQ’s Men of the Year

Lists of “Top Ten” or “Best Of” regularly appear in many places in the media to spark debate and highlight trends. I’d have to endorse Mr William Shakespeare as a Man of the Year in every one of my lists, as he was “not of an age, but for all time” (© Ben Jonson) and he inhabits my soul every day. But I’m also happy to concur with some of GQ’s Men of the Year:

• Russell T Davies (thanks for your TV series It’s A Sin and past creativity)
• Captain Tom Moore (thanks for your past service and current inspiration)
• Marcus Rashford (thanks for your tenacity and courage)
• Josh O’Connor and Riz Ahmed (thanks for all your performances, in particular recently in Romeo and Juliet and Sound of Metal, but formerly in God's Own Country and Nightcrawler)
• And Prince Phillip, HM Queen Elizabeth II’s “constant strength and guide” and “strength and stay.” 

Falling within a bell curve

Prince Phillip’s recent death (9th April) produced much broadcast material and many column inches about whether he was the last of a particular kind of man. Such dogmatic reasoning always falls flat in my head, maybe because I’m a Libran and can usually see an alternative argument for everything. Prince Phillip was not unique despite his context and background; stastical probability (given the planet’s billions of people) suggests there will be other Prince Phillip types in decades to come. The one we’ve recently lost was remarkable, I agree, and I liked his daughter, Princess Anne’s, quotation about him – “a life well lived and service freely given.” Shakespeare has Hamlet say, of his late father, “I shall not look upon his like again” but he idolises the memory of the late king and is in a profound state of grief. More empirically truthful, I think, is Tim Minchin’s lyric in If I didn’t have you (somebody else would do):

I mean, I think you’re special

But you fall within a bell curve

Outlaw’s Cave

Robin Hood, now there’s a man! Steals from the rich and distributes to the poor…. possibly? Any road up, on the day Prince Phillip died, we met Michael and Janet to complete an undulating walk in the secluded woodland of Conjure Alders in the twin valley of the Rivers Maun and Meden, at the edge of Sherwood Forest. We walked across fields with huge horizons, through woods filled with birch and alder trees, picked over tangled roots by the river and marvelled at the sandstone cliff outcrop concealing Robin Hood’s Cave. No sign of Maid Marian or the merry men (or a reduction of income inequality) in early April 2021…. Where’s Robin Hood when you need him the most?

Waiting for the storm to pass

Spring continues to springeth and daffodils to bloometh. No-one knows exactly how Covid-19’s infection rate will spread, nor how severely, so time and tide wait for no man…. so now seems a good time to hook up (safely) with other Men (and Women) of the Year…. Thank you, Brian and Sue, for the fish finger butties and chips under your verandah in Tollerton and the inspirational message:

Life isn’t about waiting for the storm to pass,

It’s about learning to dance in the rain

Once the pandemic is endemic and (hopefully) as ubiquitous and controlled as ‘flu, I imagine many people will continue to value nature and lobby decision-makers to tackle the global climate crisis and the over-exploitation of precious resources. Thank you, Nick and Graeme, for giving us a glimpse into the future with our proxy experiences of an electric car.

Sites opening up again

So if we live long enough to be in the market for a new car, electric will be the way to go. In the meantime, the pleasures of bread-making, flower arranging, table setting and dining at home are not to be abandoned lightly when the economy “opens up.” Buy locally? Travel locally? Save the planet? It’s been a pleasure to return to the (local-ish) Bolton Abbey Estate, and re-adding it to our repertoire of beauty spots, alongside the Leeds-Liverpool canal and the River Aire. A Man of the Year from the early 19th Century, Lord Byron, “mad, bad and dangerous to know,” expressed my feelings about walks and nature perfectly in Childe Harold’s Pilgrimage:

There is a pleasure in the pathless woods,

There is a rapture on the lonely shore,

There is society, where none intrudes,

By the deep Sea, and music in its roar:

I love not Man the less, but Nature more….

River Wharfe at Bolton Abbey, River Aire near Saltaire and Leeds-Liverpool canal

 

Couple of Swells

Return to Top Withins

We're a couple of swells

We stop at the best hotels

But we prefer the country far away from the city smells

So we'll walk up the Avenue

Yes, we'll walk up the Avenue

And we’ll walk up to Top Withins is what we’ll do…

It’s been a while, but as Covid-19 restrictions are lifted, a picnic on the moors above Haworth is a great place to blow away the cobwebs and drink in the Yorkshire air.

Rolling Away The Metaphorical Stone

And because we can gather in gardens again, Sally’s birthday was resurrected, this time with a sit-down meal beneath a canopy, under fairy lights, wrapped up warm, with nearest and dearest…. And communing in real life is so much better than cyberchatting. Pixels don’t do justice to the breathing souls of human beings. Online meetups are all very well, but my understanding of the art and science of communication is that pauses, interruptions, false starts, ellisions, facial expressions and eyebrow twitches are all essential to comprehension. Software doesn’t allow simultaneous argument or overlap so bring on LIVING people in REAL LIFE…

With all the frills upon it

The screen is certainly good, though, for treats like Judy Garland, Fred Astaire, Ann Miller and Peter Lawford walking down that Avenue with their Easter bonnets, watching out for that fella with his umbrella, shaking the blues away, being drum crazy, loving a piano and stepping out with my baby…. A further significant movie experience during the week building up to Easter included Scorsese’s exquisite film of The Age of Innocence with Daniel Day Lewis, Michelle Pfeiffer, Winona Ryder and Miriam Margolyes

“Ah, good conversation - there's nothing like it, is there? The air of ideas is the only air worth breathing.”

Spring Fighting With Winter

Blossoms are appearing, tulips are opening, daffodils are fluttering as they should. But the nights are still frosty and the weather is unpredictable. But I’ve been feeling the unexpected budding buds of a scintilla of desire to get back to some creative writing. Whether or not I will write creatively again feels a bit immaterial at the moment, given the efforts needed to “get through” the tail end of the pandemic crisis. I hope the world isn’t exactly the same as it was before. I expect to continue hiking through the trees, beside the streams, under the skies and planning…. planning for the next stages of the endemic-Covid world…

Talking Shakespeare Neljä (Four)

Dense, Juicy, Layered

David Oyelowo, speaking from Los Angeles, remembered a dusty (and intimidating) copy of Shakespeare’s plays in his family’s Islington council flat. He was later surprised to discover Kenneth Branagh’s film of Henry V was also written by Shakespeare, having watched it as a movie, not caring about the language. The real breakthrough for David, though, was seeing a live production at the National Theatre – the visceral production of Robert Lapage’s mudbath Midsummer Night’s Dream with Timothy Spall as Bottom. David started acting accidentally when he tried to impress a girl by joining a youth theatre and then standing in when another young actor couldn’t attend because of a tube strike. His Theatre Studies teacher, Jill Foster, encouraged him to consider acting as a profession and helped David audition (successfully) for LAMDA. His father fully expected him to “get it out of his system” when he was given small roles (seven lines in Antony and Cleopatra) at the Royal Shakespeare Company. But the bug had bitten and seeing someone like Mark Rylance in his fourth incarnation of Hamlet at The Globe deliver the language with “dexterity, musculariy and elasticity” further reinforced David’s conviction that Shakespeare is the “Everest of Acting… so dense, so juicy, so layered.” 

Greg Doran of the Royal Shakespeare Talking Shakespeare with David Oyelowo, Helen Mirren and Ian McKellen

Vulnerability and Frailty

He gave a very funny account of getting the role of Henry VI and loved “the journey” of his time on Michael Boyd’s production but became weary of the “pioneer” emphasis placed on him by the media wanting to interview him about being the first black actor at the RSC to play an English king. He detected a similarity between Dr Martin Luther King in the movie Selma and Henry VI where the abiding motivation for both characters, as he played them, was religious faith, leading to vulnerability and frailty. David felt that both MLK and Henry VI fully expected everyone around them to be imbued with the same values and were both destabilised when the. His other major Shakespeare role was playing Othello with Daniel Craig and Rachel Brosnahan (as Iago and Desdemona) in an intimate production in New York in 2015. Like Greg Doran, I hope he can be tempted away from Hollywood for more UK stage work in the future.

Selection of David Oyelowo roles: as Henry VI, Othello, Orlando in As You Like It and the movie Selma

Queen Helen

Helen Mirren is a multiple award winner: she has carried home an Oscar, a Tony and an Emmy and has famously played a line of queens: Queen Margaret in the Henry VI trilogy; and on TV and film: Catherine the Great, Elizabeth I and Elizabeth II. She also has the distinction of playing Cleopatra three times, first at the National Youth Theatre in 1963 and then later playing opposite Michael Gambon (1982) and Alan Rickman (1998) as her Antonys. I was lucky to see the 1982 Adrian Noble production (in The Other Place in Stratford-upon-Avon) and for me it became a benchmark production of how epic plays can be staged in small spaces. Helen’s early memories of working at the RSC include watching the generous Ian Richardson from the wings in Coriolanus.  She reminisced about working (warily) with the mercurial Nicol Williamson (on both stage and in the film Excalibur) and played Lady Anne, Julia in Two Gentlemen of Verona and Ophelia to Alan Howard’s Hamlet. She also vividly recounted the touring production of Troilus and Cressida which many argued brought the play back into favour in modern times and she described working with Peter Brook in the legendary project Conference of the Birds which toured the Saharan regions of Africa in 1979.

Helen Mirren as Cleopatra (three times), Cressida, Prospera in The Tempest and Rosalind in As You Like It

Sir Ian ("You shall not pass....")

Ian McKellen has had recent experience of remembering his distinguished acting career as part of his touring one-man show which raised considerable funds for small venues throughout the UK. (Tolkien, Shakespeare, Others and You.) With Greg Doran he shared early memories of seeing and loving theatre and getting involved in amateur and school productions. He always thought Shakespeare seemed fun and enjoyed travelling down from Bolton for school Shakespeare camps in Stratford-upon-Avon. He saw Laurence Olivier, Peggy Ashcroft and Charles Laughton in their prime (but also confessed to sleeping through Olivier’s Corialanus – it was a school trip, after all.) At Cambridge he joined the Marlowe Society and came under the influence of George Rylands who has mentored many of today’s great theatre directors as well as John Barton who persuaded young McKellen he could play the ancient Justice Shallow in Henry IV Part Two. He gave a moving account of working at Nottingham Playhouse with Tyrone Guthrie who gave McKellen confidence about becoming an actor and credits Maggie Smith with recommending him to Olivier to join the Old Vic. He was waspish about Franco Zefirelli and had insights into the impact of Olivier and of touring Shakespeare in the provinces and abroad with Prospect Theatre. I’ve seen many of his stage performances and been lucky to meet him both backstage after Waiting for Godot and at a UK showing of the film Gods and Monsters at Bradford’s Pictureville Cinema. Always gracious and always energetic, with a significant place in popular film history with his portrayals of Magneto and Gandalf, Sir Ian continues to be an astonishing creative force for good in the UK.

Ian McKellen as Romeo, Macbeth, Toby Belch in Twelfth Night (which I saw in Doncaster!), Coriolanus, Richard III, King Lear (twice) and Prospero in The Tempest at Leeds Playhouse

Miss Jean Louise, stand up....

Golden Anniversary

During Lockdown Three Point Zero, you take your celebrations where you can. So, if The Harry Potter Film Club has to meet on Zoom, then so be it. The group started as a prelude to watching The Cursed Child at the the theatre (in the olden days of theatre-going) because one person had limited knowledge of the Wizarding World. But then it continued, fuelled by a love of wine and cake and sociable bonhomie. And we decided to mark the 50th film with dressing up as characters from films we’d already watched, thus, above:

• No-Face from Spirited Away
• Sadness from Inside Out
• Idgie Threadgoode from Fried Green Tomatoes at the Whistle Stop Café 
• Mr Perks from The Railway Children and
• Lina Lamont from Singin’ in the Rain

Hey, Boo, fifty films and counting

There have been

• 10 Fantasies
• 7 Comedies
• 5 Animations
• 5 Documentaries
• 4 Dramas
• 3 Historical Films
• 3 Crime Thrillers
• 3 Musicals
• 2 Biopics
• 2 Family Films
• 2 Literary Adaptations
• 2 SciFi Movies
• 1 Disaster Movie and
• 1 Satire.

Over half were made since the Millennium and the earliest so far was 1940's Pinocchio. The 50th anniversary film choice was Robert Mulligan’s 1962 movie of Harper Lee’s To Kill A Mockingbird with landmark performances by Gregory Peck (as Atticus Finch), Estelle Evans (as Calpurnia), Mary Badham, Phillip Alford and John Megna (as Scout, Jem and Dill), Brock Peters (as Tom Robinson), and Robert Duvall (as Arthur (Boo) Radley.) With mood-perfect rhythms and music by Elmer Bernstein and a miraculously faithful adaptation by Horton Foote, the movie captures the spirit of the novel without simplifying any of the moral and legal complexities. The film remains light touch in the way a modern version, I think, would be far more heavy-handed.

Talking Shakespeare Kaksi (Two)

Like a potter’s wheel (Coasters, Stockings and Nativities)

My thoughts are whirled like a potter’s wheel:

I know not where I am, nor what I do.

The valiant Talbot’s words in Henry VI Part One are a potent reflection of what my mind has felt like during 2020. At times, the effects of the pandemic (on me) have produced clarity, joy and hope but more often confusion, frustration and despair (the negative emotions mostly caused by the UK government, I have to say.) Time has seemed elastic so pre-Covid times feels like two months ago and also two years ago. 

• Local walks continue on most days,
• jigsaws keep the left brain/right brain synapses twanging,
• freshly-baked mulled wine and mince pies have now been sampled and
• posh takeaways from La Rue restaurant provide a once-a-week luxury oasis, providing a time to scrub down, dress up and light candles.

Whatever it takes to cope in this strangest of times…. In the collage below there is evidence that our Advent Stockings (from Sue) have continued to yield treasures at morning coffee time. You can also see the creative endeavours of our Badby friend, Alex Thompson, honorary daughter and sister to the Allard-Johnsons, who has used some of her time at least to design beautiful coasters. These are all evidence of “clarity, joy and hope” – as is the glimpse of an ambitious Nativity scene (see collage above) constructed in a neighbour’s garden, along with child-friendly story sheets telling of those days in May or September (likely) between 4 and 6 BC (probably) when a stable in Bethlehem became the centre of the universe. The centre of my imaginative universe at the moment is re-reading, re-listening to and re-watching Shakespeare plays – it stops my thoughts whirling and helps me avoid becoming frustrated by the news bulletins. I introduced the RSC Talking Shakespeare series in an earlier post (here). PS Kaksi is Finnish for Two so the information below is my record of the second “batch” I enjoyed.

Paterson Joseph and Sir Simon Russell Beale

• Paterson Joseph almost became a chef before turning to acting. All of the interviewees were asked about their earliest introductions to the national poet and Paterson Joseph delivered a classic line that chimed with my own experience: “I didn’t come to Shakespeare – Shakespeare came to me.” I first “noticed” Joseph in 1990 as Oswald in King Lear, and suddenly realised – because of his performance – what a brilliant and significant role Oswald is. I was also lucky to see his shattering Othello (with the evillest Iago I’ve seen in Andy Serkis) at the Royal Exchange in Manchester. I loved Joseph’s Patroclus in Troilus and Cressida and, most jaw-droppingly, his tormented Brutus (pitted against Ray Fearon’s Mark Antony) in Julius Caesar. He didn’t talk about his many non-Shakespearean roles (including the recent Kamal Hadley in the BBC’s Noughts and Crosses and one of my favourites, his role in Survivors; plus on stage his compelling Atahualpa in Shaffer’s Royal Hunt of the Sun at the National Theatre) but then the point of the series is to talk about Shakespeare and I’ll never forget the Channel 4 documentary in which he directed a group of disaffected teenagers in London in a moving production of Romeo and Juliet.
• Simon Russell Beale first exploded into my theatrical knowledge in a series of Restoration plays at the Royal Shakespeare Company playing gut-wrenching comic grotesques with painful vulnerabilities. He has spoken to the RSC Summer School a couple of times and it became obvious that comedy was not his only skill. Seeing him in Ghosts and The Seagull made it clear that he was “one of the greats.” He extracted every moment of impact from his appearances as Edgar in King Lear and his Thersites in Troilus and Cressida was truly disgusting. Then as a toad-like Richard III, an extremely strange Ariel in The Tempest and (at the Donmar) a heart-breakingly buttoned-up, pinched and pained Malvolio from Twelfth Night it became clear he could tackle anything Shakespeare wrote with clarity, intelligence and heart. He triumphed at the National with Benedick in Much Ado About Nothing and Hamlet and surprised (inevitably) with his Cassius in Julius Caesar and Macbeth at the Almeida. I thought he was tremendous as Leontes in The Winter’s Tale at the Old Vic but it was his Timon in Timon of Athens at the National (and broadcast to cinemas) that blew me away, reinventing the play anew as a Play for Today in these no-such-thing-as-society Thatcherite times. Of course he’s done Falstaff on TV (a more vicious one than usual) and (brilliantly) King Lear himself at the National. But his Prospero, on his return to the RSC, in a multimedia Tempest was a revelation – here was a guilty Prospero, as tormented as Ariel and Caliban, struggling to forgive himself never mind anyone else and finally breaking the audience’s hearts as he parted from the island.

Paterson Joseph in Julius Caesar, Othello, Noughts and Crosses, Royal Hunt of the Sun, Simon Russell Beale in The Tempest (as both Ariel and Prospero), The Winter's Tale, Twelfth Night, Hamlet, Troilus and Cressida (with Paterson Joseph), Juliet Stevenson in Measure for Measure, As You Like It, Truly Madly Deeply, Troilus and Cressida, Antony Sher in King Lear (as both The Fool and King Lear), Falstaff and Richard III

Juliet Stevenson and Sir Antony Sher

• Juliet Stevenson confided that she peed on stage during a spear-carrier scene (alongside Ruby Wax) in her first appearance at the RSC in a production of The Tempest. She paid tribute to early mentors in her acting career (well known like Peter Brook and less well known like David Perry) – sometimes by saying or doing things that she reacted against. Her insights into language and space were marvellous to hear as she discussed in detail her approach to Isabella in Measure for Measure, Cressida in Troilus and Cressida and Rosalind in As You Like It. The season in which she played the latter two roles was a significant one for me as I was living in Stratford-upon-Avon during that year teaching English as a Foreign Language to groups of adults who I would accompany to the theatre so I saw those two productions a great number of times, each time spotting more and more depth and detail, especially in Stevenson’s performances. Of course in later years I got to know her screen work such as Truly, Madly, Deeply and Life Story in which she played Rosalind Franklin, the scientist who contributed to the discovery of the structure of DNA.
• (Sir) Antony Sher, one of the most powerful presences I’ve seen on stage in plays like Tartuffe and Tamburlaine the Great, had a plethora of breakthrough roles to discuss, not to mention aspects of his own biography (growing up a Lithuanian-Jew in South Africa, being gay and working at the Liverpool Playhouse.) His famous Richard III (on crutches with a prosthetic back), Shylock (in Merchant of Venice), Titus Andronicus (in a production which started in South Africa where audiences were unsurprised by the anarchic violence in the play which was given a contemporary political context), Leontes in The Winter’s Tale (where he researched and brilliantly portrayed the psychological condition of morbid jealousy), and the warrior-like Macbeth, in a Swan production that he and Harriet Walter infused with a palpable and terrifying sense of panic - all these performances were memorable and mesmerising. In recent years he famously portrayed Falstaff with equal doses of bonhomie and arrogant cruelty in the History sequence of Henry IV and a monumental King Lear arriving on an elevated wheely-throne.

Greg Doran Talking Shakespeare with Paterson Joseph, Simon Russell Beale, Antony Sher and Juliet Stevenson

Talking Shakespeare Yksi (One)

Outer images from last Christmas, inner images from 2020 prep

Member Benefits

Christmas is a-coming – a few purchases have now been made (mincemeat mixed, Christmas cake being “fed” monthly, a few gifts have been wrapped….) I’m allowing Christmas to infiltrate my life in November having, in the sixty previous years, banned all thoughts until December 1st but in this Covidacious year I take pleasure however and whenever I can. (Full disclosure: Sally still wears The Christmas Crown and is entirely responsible for the spicy aromas of fruity baking.) One advantage of having a Royal Shakespeare Company membership is being granted access to resources giving insights into the ongoing bottomless chasm of Shakespeare exploration. During both lockdowns a number of actors are giving interviews under the title Talking Shakespeare and that is just what they did. I’ll post about them all in due course, a few at a time….

Greg Doran intervewing Adjoa Andoh, Ray Fearon, Judi Dench and Alex Gilbreath

Adjoa Andoh and Ray Fearon

• Adjoa Andoh, known for Doctor Who and Casualty, is known to me especially for two stunning performances: as Ulysees in Troilus and Cressida and as an astonishing Richard II in an all-black, all-female production of Richard II at The Globe. Her interview ranged widely over all her Shakespearean roles but, most powerfully, about her personal life and commitment to community work.
• Ray Fearon revealed how he fell into acting by accident and started performing in amateur community projects. He was inspired when working as an extra in Caryl Churchill’s Serious Money to (successfully) apply for Rose Bruford drama school. He worked at Liverpool Everyman and Manchester’s Royal Exchange before rising through the ranks at both the RSC and the National Theatre. His big breaks at the RSC came in a touring production of Romeo and Juliet and then (his third) Othello with the frisson of his Desdemona being played by his Juliet, Zoe Waites. He gave a moving account of his experience playing Pericles, a magnificent performance that stuck in my own mind when I saw it, and then talked about the sensational all-black Julius Caesar when he played a scarily dangerous Mark Antony.

Adjoa Andoh in Richard II and Troilus and Cressida, Ray Fearon in Antony and Cleopatra, Romeo and Juliet and Othello

Judi Dench and Alexandra Gilbreath

• Judi Dench revealed herself to be the trooper she is and went the furthest back in time to her childhood in York and her early appearances at the Old Vic before marking off virtually all of Shakespeare’s heroines in her 70-year career. She talked about some of her legendary performances with typical humility – and plenty of funny anecdotes – but came up to date with her recent stage work that I’ve been lucky enough to witness live, in Macbeth, The Comedy of Errors, Antony and Cleopatra, Hamlet, All’s Well That Ends Well, The Merry Wives (musical) of Windsor, A Midsummer Night’s Dream and The Winter’s Tale.
• Alexandra Gilbreath’s throaty tones have always drawn me in to her performances and she was enthusiastic and insightful about her major roles, all of which I saw in Stratford: Hermione (The Winter’s Tale), Juliet, Rosalind (As You Like It) Kate (The Taming of the Shrew), Olivia (Twelfth Night) and, alongside Judi Dench, in the musical version of Merry Wives.

Judi Dench in Macbeth, Merry Wives, A Midsummer Night's Dream, Alex Gilbreath in As You Like It, Romeo and Juliet, Taming of the Shrew, The Winter's Tale

One man in his time plays many parts

All the world’s a stage,

And all the men and women merely players;

They have their exits and their entrances,

And one man in his time plays many parts,

His acts being seven ages.

At first the infant,

Mewling and puking in the nurse’s arms.

Then the whining school-boy, with his satchel

And shining morning face, creeping like snail

Unwillingly to school.

And then the lover,

Sighing like furnace, with a woeful ballad

Made to his mistress’ eyebrow.

Then a soldier,

Full of strange oaths, and bearded like the pard,

Jealous in honour, sudden and quick in quarrel,

Seeking the bubble reputation

Even in the cannon’s mouth.

And then the justice,

In fair round belly with good capon lined,

With eyes severe and beard of formal cut,

Full of wise saws and modern instances.

And so he plays his part.

The sixth age shifts

Into the lean and slipper’d pantaloon,

With spectacles on nose and pouch on side;

His youthful hose, well sav’d, a world too wide

For his shrunk shank; and his big manly voice,

Turning again toward childish treble, pipes

And whistles in his sound.

Last scene of all,

That ends this strange eventful history,

Is second childishness and mere oblivion;

Sans teeth, sans eyes, sans taste, sans everything.

Return to Live Theatre

Krapp's Last Tape

Earlier this evening I had my first experience of live theatre since March via the one-way system, temperature checks and socially distanced seating at Leeds Playhouse…. It felt appropriate that the first play I saw since lockdown was by Samuel Beckett, the master of tragi-comic nihilism. Krapp's Last Tape takes place on a “late evening in the future” when Krapp reminisces about his earlier life, in particular an audio record he made 30 years ago on the spool of an old tape recorder and in the pages of a tatty ledger…. There but for the grace of God go I…. Niall Buggy played the banana-eating Krapp with a mixture of wistful vulnerability, frustrated rage and a poignant desire to interpret and make sense of his shifting, distorted memories. Was the past exactly what he remembered? Was his 39 year old self a truer version of Krapp than his 69 year old present self? Time to make one last tape.... Terrific performance of a thought-provoking monologue.

Orpheus in the Record Shop

In the second piece, rapper Testament  (a William Blake fan, so he's OK by me!) fused beatboxing, myth and poetry to present a tale of love lost, dreams dreamt and future journeys imagined with help from pianist and composer Taz Modi and nine live musicians from the orchestra of Opera North. The 75-minute tour-de-force showcased Testament's human beatboxing talents with a huge variety of sounds blended into the overwhelming soundscape of the classical instruments gradually introduced by Opera North, including a soaring female singer  The stage space of the Quarry Theatre was used spectacularly with atmospheric lighting but my long-term memories of this piece will probably be less technical than personal. During Testament's monologue he conjured a cast of characters that came in and out of his record shop - there were many identifiable laughs on the joys and pretensions of vinyl, record collectors, music tastes and the precarious existence of trying to run a retail business with love but little economic sense! Of all the characters weaving in and out of the narrative the dominant presence (though painfully absent) was Orpheus's own Eurydice, in this case named Justine. Though the story, whilst funny, was often tear-jerking, there was a depth charge of hope at the end. Music is everywhere. Love is everywhere. And it was a great thrill for me, at Leeds Playhouse, that twice one evening in October 2020, I sat again in a live audience, the anticipation was immense and the house lights dimmed to darkness before launching Krapp's Last Tape and Orpheus in the Record Shop. (Back next week for La Voix Humaine.)

 

PreBirthday Birthday Treats

Big Birthday Tighter Lockdown

I live in an area that has had an increasing Covid infection rate so, with tighter lockdown restrictions, my plans for celebrating my 60th birthday in the middle of October are well and truly on hold. Which explains why my favourite walk on the moors to Top Withins (scheduled for my birthday weekend) happened early. And a trip to the Harvey Nichols restaurant in Leeds was also tacked onto a trip that was meant to be just doing chores. Blowing the cobwebs away and putting the world to rights with a picnic at the Brontë Falls; and savouring the time and tastes over a delicious meal – I already feel I’ve been well and truly treated. (Happy Early Birthday To Me!) As a bonus I visited for the first time the Tiled Hall Café at Leeds Art Gallery.

Seasons Mingling

On Friday, I meandered along the River Aire and bathed in forest light feeling like the luckiest man alive. The day before, on Thursday, marble-sized hailstones battered Saltaire, crushing plants and battering berries off the weeping cotoneaster in our back garden. Is it Summer or Autumn or has Winter sneaked in? Sometime in October I’ll record (I hope) a RETURN TO LIVE THEATRE – I’ll be attending 3 x 45minute performances at Leeds Playhouse…. But yesterday, after the river walk and Tai Chi in the park (who guessed I would ever be doing Tai Chi?) I made a RETURN TO THE CINEMA…. So, in Pictureville, I was one of five masked punters who was glued to The Perfect Candidate.

No urgent justification to fund this project

I may have been so cinema-deprived that The Perfect Candidate felt like the best thing I’ve seen in ages – and that’s because it’s the ONLY thing I’ve seen at the cinema since the beginning of lockdown. There were a couple of moments in the film that felt formulaic – though other parts that were not formulaic and I was definitely transported out of my self and my immediate concerns into a different world. So here’s what I thought about my first cinema film in six months:

• I felt safe and comfortable in Pictureville cinema
• One of my favourite films of 2012 was Wajdja about a girl and her desire to ride a bike, made in secretive conditions in Saudi Arabia by the same director as The Perfect Candidate, Haifaa Al-Mounsour – this new film has a bigger budget, seems more obviously “cinematic” but has the same sensibilities and attention to human detail as Wadjda
• As soon as you see Dr Maryam (Mila Al Zahrani) driving her car, you know this is a 21st century Saudi Arabia. Maryam is an ordinary woman, observant and devout, and with extraordinary determination and enough temper to cut through some of the bullshit she encounters in her life as a trained doctor in a remote clinic and, later, accidentally, as a candidate for the local Municipal Council
• Helping Maryam (at first reluctantly) are her two sisters: Sara (a teenage eye-roller) and Selma (a confident wedding planner, played by Dhay who is, apparently, for those who know these things, a real-life social media influencer)
• The three sisters are left home alone by their patriarchal father who, against stereotype, wants to go “on tour” with his band of musicians, partly to recover from the grief over the loss of his unconventional wife a year before. He is prepared to defy extremist threats to censor his musical talents and states that he wants his daughters to live fulfilled lives.
• The authorities want Dr Maryam to concentrate on treating patients who are prepared to let a female doctor touch them and, later, to focus her political efforts on playgrounds for children and gardens. But there’s a more urgent priority in Maryam’s mind and her rival male candidate has no interest in…. repairing the road to her local clinic
• The Perfect Candidate made me laugh, feel angry, feel nervous, opened new vistas in my mind – and gave me hope

 

A (Yorkshire) lass unparallel'd

Boast thee, Death…. Downy windows close

In Antony and Cleopatra, Charmian closes the eyes of her asp-poisoned mistress with the following words:

So, fare thee well.
Now boast thee, Death. In thy possession lies
A lass unparallel'd. Downy windows, close;
And golden Phoebus never be beheld
Of eyes again so royal!

And thus spake Jenny Michelmore to Diana Rigg at the Chichester Festival Theatre in 1985. Thirty-five years later, on September 10th 2020, that same majestic Cleopatra, Dame Diana, took her last bow. Born in Doncaster, Diana Rigg always paid tribute to her Yorkshire roots. Her father was a railway engineer who was transferred to work on the railways in India where Diana learned Hindi as a second language. In later years, when an interviewer expected her to cite India when asking “where did you develop your ingrained sense of justice?”  Diana’s answer was “Yorkshire.” Although feeling she didn’t fit in when she returned to school in Leeds, Diana’s drama teacher at Fulneck, Sylvia Greenwood, instilled a love of Shakespeare and performing and Dame Diana returned to Leeds to receive an honorary degree and visit her old school.

Mistress of Theatre, TV, Cinema

At school Diana appeared as Orlando in Shakespeare’s As You Like It and Emily Brontë in The Brontës. She went on to be crowned with plaudits, winning BAFTA, Emmy, Tony and Evening Standard Awards in her time. (And striking out – successfully – for equal pay with her co-star in The Avengers at a time when it was rare for women to highlight inequality.) Highlights included:

• In Theatre: Brecht’s Caucasian Chalk Circle and Mother Courage, Shakespeare’s King Lear, Twelfth Night, Macbeth and Antony and Cleopatra (as Cordelia, Viola, Lady M and Cleopatra), Ronald Millar’s Abelard and Helouise, Stoppard’s plays Jumpers and Night and Day, both Eliza Dolittle and Mrs Higgins (twice) in My Fair Lady, Sondheim’s Follies, Euripides’ Medea, Albee’s Who’s Afraid of Virginia Woolf, Williams’s Suddenly Last Summer and Chekhov’s The Cherry Orchard
• On TV: Shakespeare’s King Lear (as Regan), The Morecambe and Wise Show, Clytemnestra in The Oresteia, Ibsens’s Hedda Gabler, the 1985 Bleak House, her BAFTA-winning turn in Mother Love, Moll Flanders, Mrs Danvers in 1997’s Rebecca, Oleanna Tyrell in Game of Thrones, and cameos in popular programmes like Victoria, Detectorists, Doctor Who and the forthcoming Black Narcissus. But she will always be associated with her groundbreaking performance as Emma Peel in 51 episodes of The Avengers
• On film: Shakespeare’s Midsummer Night’s Dream and Julius Caesar (as Helena and Portia), Mrs Tracey Bond in On Her Majesty’s Secret Service, Theatre of Blood, A Little Night Music, The Great Muppet Caper, Evil Under The Sun, The Painted Veil and the forthcoming Last Night in Soho

As well as her Shakespeare roles, I was most affected by (on TV) her performances in The Avengers, Mother Love, Moll Flanders, Game of Thrones and Detectorists; on film the shock of her fate in On Her Majesty’s Secret Service; but I was lucky enough to see her grimy, cackling, pipe-smoking, funny, grotesque Mother Courage on stage at the National Theatre in 1995 – a character full of grim energy at the beginning, dragging her enormous cart around the stage, quipping, dominating, manipulating; and, by the end of the production, a zombified hollowed-out shell of a woman, emblematic of all people shattered by the effects of needless war. An extremely un-vain performance. An acting legend.