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Woman Business (Susan Elkin reviews)

Woman Business

Written and performed by Shilipa Varma

Directed by Frances Bodiam

Star rating: 3.5

This is a pleasing one-woman show telling the story of Diya’s life from the traditional India of her childhood through a long successful London marriage, two children and finally back to India, a care home and a hint of dementia. Through all this we see the feisty rebellious streak in this highly articulate woman determined to be a writer but also seeking ways of reconciling her native culture with modern life. Indirectly we meet her parents, her husband, adult children and various other people. There’s humour, ruefulness and an occasional atmospheric foray into poetry.

Varma is a compelling actor to watch. She captures all the argumentative spiritedness of an exuberant twelve year old, astonished by, and cross about, this “women business” (menstruation) and the silly rules which accompany it. She has unusually expressive eyes and uses them eloquently. Then we see her suddenly 20 years older looking back on the beginning of her marriage. She shifts forward again and she’s facing widowhood, bereft but still sardonically funny and she listens, for example, to the “auntie” in the white sari  who comes at her with “an arsenal of widowhood wisdom”. She listens and then says firmly that she’ll make her own rules. We’re hearing the thoughts she doesn’t actually voice to those around her especially her not very easy adult children and the carer she refers to as “the I’m-there-for-you-nurse” who always speaks in the first person plural, as she nears the end of her life.

The set is masterly in its simplicity. A series of colourful satin fabric lengths are pegged on an upstage, surrounding washing line. These become saris and shawls for different occasions and a white one represents her husband’s deathbed.

Woman Business is a gently moving 60 minutes of well-acted theatre. And sometimes it’s laugh aloud funny. It had never occurred to me that coffins or shrouded bodies passing into the crematorium furnace resemble pizzas disappearing into a pizza oven but as an observation it’s spot on.

As anyone who has read The Beekeeper of Aleppo knows, Christy Lefteri has a real gift for finding hope and a way forward for suffering people and communities. This 2023 title is another example of it.

Irini, who narrates, lives contentedly with her artist husband and beloved daughter on a Greek Island. Then comes a devastating forest fire which destroys most of the vegetation and kills several people. Many are left homeless. The causes are not straightforward. Fires like this are tragically common in hot, dry places and climate change has exacerbated the risk although Lefteri doesn’t dwell much on this. At the same time there’s a local rich guy, named Mr Monk, wanting to expand his hotel empire. The quickest way to get going is if the area is cleared by “natural forces”. Then planning regulations can be bypassed. So he deliberately started this fire. And it got out of hand.  The disaster, moreover, was worsened by the dilatory response from the emergency services so apportioning blame is not a simple matter – and arguably pointless anyway

Lefteri’s narrative method is intriguing in this novel. The main story gives us Irini, Tasso and their daughter Chara living in house which belonged to her late father-in-law.  Tasso has two bandaged hands because of serious burning. He is also in a deep depression and almost cut off from Irini and their daughter as he sits in the garden all day gazing into the distance. Chara meanwhile is recovering from severe and painful burns on her back with a map-like pattern of scarring.

Gradually we learn the whole story of what happened – including Irini’s finding of Mr Monk in the forest which is now almost all just charred stumps. And part of the unravelling takes the form of a third person story Irini writes,  in which she recounts what happened to her family, keeping it distant and objective like a fairy story by not naming anyone. Telling/writing this story is part of Irini’s therapy. It means that Lefteri’s novel works like a mirror with a reflective outer ring and it’s pleasingly original.

The novel is full of delightful people too. There’s a couple who take in Irini and Chara when Tasso is still missing. They provide food, accommodation and transport and a new friend for Chara in the form of their son. They are tactful, generous and gloriously kind. Eventually they become friends – calling on Irini’s family when they finally resettle in the house of the father-in-law whose house survived the fire but he didn’t. And finally we learn the Kind Man and the Kind Man’s Wife are called Alexandros and Sophia. Then there’s Mrs Gataki, the friend Irini drinks coffee with at the Kafeneon and who loves crime novels – along with the café owner, Maria and the other regular customers. The police officer Lieutenant Makris is a good sort too. And that’s the thing about this uplifiting novel – of course people have different jobs, priorities and beliefs but they are nearly all fundamentally decent.

So are the animals. The family dog, Rosalie, is a delight. Somehow she manages to survive a long period in the sea with Irini and Chara when they are fleeing the fire and is a solid lovable presence in their lives. There is also a burned, lost baby jackal (yes, there really are jackals in parts of Greece). Chara finds and adopts him. The vet (another  pleasant character) calls and takes him to her surgery for treatment to his burned paws and then Chara nurses him back to health – with support from Rosalie.

Irini, meanwhile, is deeply troubled about her encounter with Mr Monks in the ruins of the wood. Regret almost consumes her because she believes she should have taken action when she didn’t. In the end, it’s Tasso – hands at last unbandaged, beginning to mend and emerging from his depression –  who tells her what she must do. And it assuages her guilt and gives her some peace.

At the end of the novel you know that this family will be all right. They love each other, they have support and hope for the future. And we never worry that Tasso is really lost because we know, from the framing device, that he’s alive and sitting in the garden.

It’s also a warning, though. Global warming, human greed and a culture of casual response service are a dangerous combination.

Next week on Susan’s Bookshelves: Erasure by Percival Everett

 

 

Unforgettable; The Nat King Cole Story

Tim Connery

Directed by Nathan Osgood

Bridge House Theatre

Star rating: 3.5

 

It’s very easy to forget just how tough life was for black people in the US before the Civil Rights Movement took off – even for huge stars like Nat King Cole.

Tim Connery’s rather entertaining two hander presents Nat (Kwame Bentil) and his second wife Maria (Alicia Charles) unwinding the story of the success,  financial problems, racism, a growing family and, eventually infidelity and illness. And it does it with a mixture of dialogue between the two of them, speaking straight to audience and projection specifying date and place. It takes us from 1946 to 1964 and runs for a focused 75 minutes.

Bentil sings well enough to be convincing – always a potential issue when an actor has to represent someone iconically famous.  And he brings warmth and simplicity to this man whose life is often made quite difficult, but who only ever wants to be a jazz pianist in the Nat King Cole Trio. He has no interest in politics or even keeping his affairs in order.  Bentil does the hospital scene at the end touchingly too.

Charles’s (or Connery’s) account of Maria suggests a strong woman deeply in love with her husband but also practical – the voice of feisty common sense in the background. She wants him to sing more, tour less and stop smoking. The two actors work seamlessly together and we sense the truth of what they’re depicting. Their American accents take a while to settle, however, and Bentil is sometimes less than clear and audible in his attempts to capture Cole’s Alabama drawl.

It comes with humour too. When Cole appears in his birthplace – Birmingham, Alabama – he is hounded on stage by anti-black protestors. Appearing with his trio is the Ted Heath Band from the UK. Someone calls for the National Anthem and one of the drummers plays an introductory roll. The result is both the Star Spangled Banner and God Save the Queen. “Two tunes which do not go together” Nat recalls laconically.  But it quells the riot.  Venturing south of the Mason-Dixon line was a big issue. So was the question of segregated audiences,

All in all it’s an informative and thoughtful show. But sometimes the budgeting shows. It’s a bit odd, for instance, when Bentil takes off his shirt and says he’s fetching a clean one but, actually,  puts back on the one he’s just taken off.

 

Royal Philharmonic Orchestra

St Giles Cripplegate

Conductor: Gergely Madaras

Tuesday 16 June

 

The opening concert in the Summer Music in City Churches festival, now in its eighth year, was a pleasant and, at times, uplifting concert comprising four very familiar works. This year’s festival is badged “Around the World” and the music took us to Italy, France, Spain and Germany so it did what it said on the tin.

The heart of the concert, and very much its high spot, was Roderigo’s Concerto de Aranjuez with the impressive, charismatic Jack Hancher as soloist. Using a knee rest to keep the instrument at a 45 degree angle to his body he created vibrato to coax every ounce of anguish from the plaintive adagio. And the duet with the cor anglais was magically tender. In the outer movements he plays the strings like a pianist and every note rings. Perhaps isn’t easy to make a work as familiar as this sound fresh but Hancher delivers in spades.

For me this was the most interesting work in the concert for two other reasons. First, live performances of it seem suddenly to be proliferating. I heard Sean Shibe do it with the Philharmonia under Marin Alsop in February. Samrat Majumba is playing it with Maidstone Symphony Orchestra, where I review regularly, on 29 November. Second, the Hayes Symphony Orchestra in which I play second violin, is doing it with none other than Jack Hancher on 06 December. It’s a fine work and it’s good to see it getting about more than in once did.

Back at St Giles Cripplegate, the concert opened with a decent account of Rossini’s Barber of Seville overture – this is the RPO pared down to six first violins and two double basses (even fewer for the Roderigo)  by the way so that it fits into the chancel. It needs some imported raked seating for players, though, because the winds are invisible to the audience in the nave which is frustrating.  Conductor Gergely Madaras is evidently aware of the resonant acoustic and resisted the urge to run with exaggerated tempi but managed to find plenty of crisp wit in the music with some pleasing work from horns and cymbals.

Then it was off to the colourful but, for me, always waffly world of Ravel’s Pavane pour une enfante defunté. It was sumptuously played especially by the brass but I failed to warm to it because French impressionism in music simply doesn’t grab me.

After the interval we got a rousing performance of Mendelssohn’s decisively sunny Italian symphony. High spots included  the lively contrasts in the opening Allegro vivace, nicely balanced “ticking” from lower strings in the Andante and some fine horn work in the third movement. The opening to the Salterello was slightly ragged (an acoustic issue maybe?) but soon found its feet and packed in plenty of excitement.

It is always a pleasure to attend a central London concert with a wide demographic in its audience. I sat alongside children, city workers of all ages, retired people and many who had travelled from other parts of London. Classical music is for all. QED. Hurrah.

 

 

 

I recently told a newish friend who had come to coffee that I’d always had a fancy to explore America’s central states. I meant the ones where Real Americans live and there are no tourists – perhaps a road trip from Chicago to Louisiana like the one Stephen Fry did for TV in an old London taxi. Not, as I said to her, that it’s likely to happen now. I’m not cut out to be a lone traveller and I’d probably find all those miles a bit tiring these days. “Oh,” she said, “You should read Jonathan Raban’s Old Glory: An American Voyage”. So I did.

Jonathan Raban, who died in 2023, sailed down the Mississippi in a 16-foot boat with a 15 hp engine in 1979. He and the river pass through ten states.  His book was published in 1981 so 45 years have passed and I read it with sense of nostalgia because I bet it’s not quite like that now in these days of mass communication.  On the other hand, he writes so graphically that I felt I too had journeyed  from Minneapolis to beyond New Orleans on the Delta so perhaps I don’t need to do it after all – the best sort of travel writing. The only places on his voyage that I have actually been to are New Orleans (and done the obligatory paddle steamer tourist thing) and I’ve stood in awe on the banks of the Mississippi at a few quieter spots in Louisiana as, on a road trip we headed towards Mississippi state. Otherwise, it was all new to me.

The Mississippi is a character. It has a personality and moods. Again and again, Raban is told he has to respect its “boils”, currents, swamps and the like because many people have died there.  In places it’s several miles wide. It others it churns along. There are islands and many hazards. Raban, though, has come because of an illustration he loved in a childhood book. He’s also attuned to Huckleberry Finn and historical books about the river which he carries with him – along with navigational charts.  He is determined but far from fearless. Sometimes the water looks silky. At other times it’s oily or angry. And he soon discovers that he really can’t sail safely at night. Storms, moreover, are terrifying.

His craft, fitted out for him by a cheerful chap named Herb, who gives him a few navigation lessons before he sets off, is very small so he doesn’t sleep on board. That means he stops off at towns en route where he meets hundreds of people. He has a knack for getting people to talk to him – fishermen, mayors, police, bar tenders, radio stations, hoteliers, an old lady in a care home and many more. What he’s doing is very unusual, so people notice him and, often, know he’s coming or that he’s around.  Many are very hospitable. His discussions with them paint a kaleidoscopic picture of some very insular places and attitudes.

At the same time, although he doesn’t labour it, Raban, aged 37, is trying to escape from demons of his own. His father came back from the war, struggled to form loving relationship with the son he found at home and eventually became an authoritarian Anglican clergyman. So church is in Raban’s blood although he’s an unbeliever. Wherever he goes on his river trip he picks a local church each Sunday – various denominations –  and attends a service as a way of getting the flavour of local thinking. He is very good indeed, for example, on Otis Higgs – a preacher trying at the time to become the first black mayor of Memphis but, ultimately failing by a narrow margin. Raban sees Higgs in action in both capacities and marvels at the difference. He meets him and talks to him too.

Because this is 1979 the local vocabulary is striking. One man tells Raban that he simply can’t get used to being referred to as “a black man”. I’m a —-” he says using the word which has become the most emotive in the language and which I dare not type for fear of being banned by some social media algorithm. “That’s what I am and it’s fine” the man declares.  The word  casually occurs a lot in Raban’s conversations with locals. Raban himself uses “negro” as a non-pejorative descriptor. It’s another word, which simply means “black” (from Latin) which we’re now not allowed to use. I suspect many of the new friends Raban makes on river would be surprised at the lexical turn things have taken half a century later.

Raban cuts a solitary, sometimes lonely figure. Twice during the course of this book he meets a woman he’s attracted to. He even moves in with the second one for a while. He’s evidently good company. Wherever he goes people make him welcome and his friendship with the captain of the tow boat which transports him on the final dangerous stretch down to Baton Rouge is quite moving. But it isn’t always like that. His almost getting knifed by an aggressive (disturbed) man in a bar who mistakes Raban for a “Fed” is pretty scary.

This book is a fabulous geography lesson. It’s also full of history and tucked into the mix are, of course, geology, botany and more. Very accessible to read, it’s also a compelling and beautifully written quest story complete with the “stations” which always provide a framework for quest stories in the tradition of The Odyssey and Pilgrim’s Progress. Raban is questing for the Gulf Of Mexico. He’s also trying to find himself, as questors always are. And he does.

Next week on Susan’s Bookshelves: The Book of Fire by Christy Lefteri

A Fine Idea

Caroline Bacon

Directed by Charlotte Westenra

Arcola There, Studio 2

Star rating: 2.5

Ella Bryant, Georgina Rich, Grace Saif, Kevin Trainor. Photo credit: Beatrice Updegraff

International development aid and attitudes towards it is an interesting idea for a play. Just how much difference does the money make to individuals?  Are aid workers deluding themselves? These are topics worth exploring.

The trouble is that there are many facts and statistics which need to be delivered with the result that this play is too didactic especially when it strays into Oh! What a Lovely War country by using satirical show-biz routines to drive the message home. There is sardonic wit in places, though.

The plot gives us Jo (Ella Bryant) fulfilling a lifelong ambition to follow her parents into the International Aid sector in memory of her grandfather who conceived the term “international development” and got it into President Truman’s inaugural speech in 1949.  Cue for imagined conversations with him. Working in Kenya in the present, she learns that aid isn’t always what it seems to be. People with privileged backgrounds cannot conceive of the poverty levels – infant mortality, undernourishment and so on – which go on around them. And it’s a drop in the ocean anyway. Nobody quotes Jesus’s observation that “the poor will be with you always” but that’s the sense. And Kala (Grace Saif) whom Jo meets in Nairobi is an angry activist whose story does not end happily.

The cast of four all do good work with convincing multi-roling although some of the accent work is iffy. Saif gives an especially fine performance. She does grief and despair very memorably – a very different role from when I last saw her as Pauline Fossil in Ballet Shoes at the National Theatre.

Sadly this play knows what it’s trying to do but can’t make up its mind how to do it. And it’s bitty. One minute we’re in a realistic conversation and then, for example, we get a weird metaphorical surgical operation or a magician working tricks with numbers. The personification of institutions like the International Monetary Fund (IMF) is a bit clunky too. It feels like something contrived by a teacher to convey tricky political points to Year 10.

Moreover at 90 minutes it’s too long. Florence Nightingale and the hospital at Scutari are in the mix, for instance and could go. I suppose it’s an attempt to draw comparisons but it’s an unnecessary digression which doesn’t add much.

In short A Fine Idea is worthy and worthwhile but not especially successful as drama. The title says it all really.

 

I first discovered Carol Shields when her The Stone Diaries was shortlisted for the Booker Prize in 1993. Before that she hadn’t been published much in Britain. I then went on to read most of her backlist as the titles appeared in bookshops because I was hooked. Her prose ripples, her characters are richly recognisable and genuine, and her narratives are compelling. Sadly that year’s Booker went to Roddy Doyle for Paddy Clark Ha Ha Ha but Shields did win the Pulitzer Prize.

Small Ceremonies, a first person narrative, was her first published novel (1976) which appeared in the UK in 1995. An Illinois-born, naturalised Canadian, university teacher and mother of five children, she was 37 when she wrote it.

She certainly knew all about female juggling. Judith Gill, the protagonist of Small Ceremonies is the wife of an English academic, and she’s an author. The English department in which her husband works, the parties they go to and give and the people they know all ring resoundingly true. So do the meals she cooks and the two teenage children she adores but sometimes struggles to understand. Everything she describes is beautifully observed.

Of course this title is over half a century old now so you have to read it as you do fiction from a former age and accept that ideas have changed about what it is acceptable to say or even think. I winced – and then reprimanded myself – at Judith’s being thankful that she hadn’t had to raise a “mongoloid” and that’s just an example. The same applies of course to, say, Jane Austen (who, incidentally and unsurprisingly, Shields read extensively). You just have to get into the right mindset.

Most of the people Judith and her husband know are writers of one sort and another, and oddly, this is the second book about writers I’ve read in a week. The other was Amanda Craig’s enjoyable new book High and Low. In both cases one is led to consider the issues and angsts which writers face and they resonate with me for obvious reasons.

One of Shields’s main themes in Small Ceremonies is plagiarism. What is it and how much does it matter? Judith has borrowed (appropriated? stolen?) the plot of an unpublished novel she secretly read while staying with her family in another writer’s home for a year in England. She then abandons her own novel but not before she has shown it to another novelist – whose next novel … well you can guess. It’s fascinating stuff because of the three she is the only one aware of what has happened. Neither of the others has noticed.

We all know the theory that there are seven stories in the world which are the backbone of all fiction. Years ago I read most of Noel Barber’s entertaining books. He’d been a foreign correspondent and used his experience to tell the thwarted love Romeo and Juliet story in various settings and situations across the world. I wonder if he was aware that was what he was doing? To this day I like to relax occasionally with the feel-good novels of Katie Fforde. She usually retells Jane Eyre spliced with Pride and Prejudice (rags to riches) in lots of different modern settings – and it works nicely.

And I speak as someone who has recently published a book of short stories each of which is predicated on a character from a great work of literature. They’re not my characters. I’ve borrowed them.

https://www.amazon.co.uk/Unheard-Voices-Tales-Margins-Literature-ebook/dp/B0FWZQ8YRT

Plagiarism? Definitely not, not least because I am completely up front about what I’m doing. I regard it as form of literary homage/criticism.  I’m working on a second set.

Carol Shields died in 2003 at age 68 having, the previous year, again been been Booker-shortlisted for Unless which was her last novel. Small Ceremonies has sat on one of my shelves since the mid-90s when I first read it. I now realise that it’s a “companion novel” to her The Box Garden (1977) which I’ve never read. Of course I now have it and it’s near the top of my TBR list.

Next week on Susan’s Bookshelves: Old Glory by Jonathan Raban

Allegra

Peter Quilter

Directed by Stephen Mear

Richmond Theatre and touring

 

Star rating: 3

 

This show is entertaining twaddle. In places it’s very funny and Maureen Lipman is a stage commander like no other. But there’s no substance or depth in it.

The titular Allegra is a lithe, irrepressible, ever-cheerful elderly eccentric. She gets up at 3pm, doesn’t buy food and sings songs and dances wherever she goes to such an extent that noise nuisance and restraining orders are in the air. Although it’s never mentioned or discussed she probably has some rare form of dementia. Her long-suffering brother Ronen (John Middleton) certainly thinks so which is why he installs a carer (Elizabeth Bower). Police Officer Rogers (Bailey Patrick) has to call increasingly often. And that’s it as far as narrative goes – none of it is developed although there’s plenty of laugh-aloud situation comedy.

Lipman’s is an extraordinary performance. Her rapier sharp timing throws the best lines in the play back at whoever she’s talking to and she’s hilarious with her knowing logic and shiny curly hair. Even her feet mange to be funny. She’s also full of dramatic energy despite quipping at curtain call that “eighty is the new forty”. Born in 1946, she is touring for the first time in 30 years and will do eight shows a week for some months. She does a lot of singing in this show because that’s Allegra’s “thing” and occasionally the lighting changes and she goes into a sort of trance in which she does a full dance and song routine sometimes with the rest of the cast in, for example,  the umbrella-twirling Singing in the Rain – all choreographed by director, Stephen Mear. It’s as if there’s a musical in this show which is trying to get out but it doesn’t sit very coherently.

Because Lipman is the calibre of performer that she is, the other three cast members  rise to her quality and in their different ways are all excellent: Middleton, always the serious voice of exasperated common sense,  Bower the Czech, twinkling carer cooking delicious meals and  and Patrick as the policeman trying to be firm but getting drawn in to the silliness in spite of himself.

It’s odd to see a show which manages to be both weak on many counts but  also quite watchable. I suspect it will prove a hit with uncritical audiences who will simply enjoy the humour.