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Teechers (Susan Elkin reviews)

Teechers
by John Godber. Guildford Fringe Theatre Company on tour
performance date: 07 Sep 2019
venue: Churchill Studio Theatre, High Street, Bromley, Kent BR1 1HA
 

Photos: Sam Stay

⭐⭐⭐⭐

With only very marginal updating, John Godber’s 1985 play, is so beautifully observed that, with three fine young actors, directed by Harry Blumenau (assisted by Charlotte Bateup), it’s as fresh and funny as the day it was written.

Three school leavers, whose school is distinctly “sink”, put on a play in homage to their drama teacher who’s leaving and anyone who’s ever been a teacher will recognise every line and situation. It isn’t clichéd. It’s truthful. Many under-50s chuckle too because this is their schooldays.

It was written for three actors who play more than twenty other parts. Godber has said that you could cast it quite differently but in this production it is done as originally intended and it’s a real treat to see three actors working so magnificently together. It’s fast paced and energetic and some of the voice work is terrific as they rotate accents and roles at top speed.

Elle Banstead-Salim as Hobby richochets cheerfully between the appalling bossy teacher who lords it over everyone else (every school staff has one of those) the absurdly excessive would-be amdram theatre director, a very lippy schoolgirl and much more. She’s lively and very funny.

As Salty, Sam Stay is wistful rueful and naughty before becoming Mr Nixon, the anxious new drama teacher who grows and develops during the year – along with other roles. It’s accomplished acting and his facial expressions are very eloquent.

This is a professional debut for Dannie Harris (Gail) who graduated from Drama Centre this summer. Tall and blonde she makes a lovely visual contrast to the other two. Her shifts between the cool, attractive PE teacher, the dotty old staff room fixture and the raucous all-singing, all dancing good time schoolgirl are delightful. I hope Drama Centre are proud of her.

Guildford Fringe Company have embarked on a mini tour with this production. It would be good to see them outside Guildford more often because they’re producing good work.

 
 First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Churchill%20Theatre%20Bromley%20(professional)-Teechers&reviewsID=3693
For Services Rendered
By Somerset Maugham. Part of The Memories Season
performance date: 06 Sep 2019
venue: Jermyn Street Theatre, 16b Jermyn Street, London SW1Y 6ST
 

⭐⭐⭐

It’s an old fashioned play set in, and dating from, the early 1930s with a cast of twelve, lots of busy entrances and exits and plenty of tea. We’re in first the garden, and then the sitting room of a middle class family: Leonard Ardsley is a solicitor. I sensed that, even on press night, it was new to most of the audience and it certainly was to me.

In Tom Littler’s adept hands, however, it feels pretty fresh and although the issues it explores are historical, there are topical nuances. Why, for instance, bearing in mind that Somerset Maugham had what the programme note calls “long suppressed sexual problems”, is Collie Stratton (Jotham Annan – good) so determined not to solve all his problems by marrying the eldest Ardsley daughter, Evie ( Rachel Pickup of whom more in a moment)?

The play explores the perceived need for women to marry for social and economic reasons which, for many was impossible at this date because so many young men had died in the war. One daughter, Ethel (Leah Whittaker) has made a less than satisfactory compromise marriage. The youngest, Lois (Sally Cheng) is considering smashing convention by grabbing her chances to leave provincial life in a way which is never going to be approved of. Meanwhile, Sydney, the Ardsley’s only son, is blind owing to war injury and therefore treated as an invalid. The piece also asks – still topical – questions about what distinguished officers are actually meant to do once they’re deposited back in civilian life which can be hostile and difficult. Oh yes there’s plenty going on here – arguably too much – but it makes quite gripping theatre especially when you’re experiencing the play for the first time.

There’s a deal of accomplished acting in this production. Rachel Pickup is terrific as the angry, anguished, desperate, pent-up Eva. She pleads, reasons and tries to flirt with Annan’s character. Eventually when things have gone seriously wrong, Eva loses control and Pickup gives us a masterclass in onstage hysteria – not easy when the audience is televisually close but she handles it magnificently.

Diane Fletcher brings warmth, humanity, commonsense and resignation to Charlotte Ardsley mother to four other characters. Then there’s Gwen Cedar, a local friend whose refined awfulness is straight out of Jane Austen – Viss Elliott Safavi makes her believable and tiresome but also rounded so that in the end we feel some sympathy for her.

The Jermyn Street Theatre is celebrating it’s 25th birthday and For Services Rendered opens the venue’s Memories Season. It’s an ambitious project in this small space but I’m glad that Littler and his colleagues have taken it on.

 First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-West%20End%20&%20Fringe-For%20Services%20Rendered&reviewsID=3692

Concerts are just another form of theatre – especially classical ones which, however hard promoters and co try to de-formalise them, do have an etiquette and light ritual all of their own. Part of the fun, rather than anything off-putting, I think

I have been attending classical music concerts since my early teens. And as this year’s Proms season ends I’m struck that I’ve been here, as it were, for a very long time. The Royal Albert Hall feels almost as familiar as my own sitting room.

Having said that, I’m relatively new to concert reviewing although I suppose it was a fairly obvious gelling of two aspects of my life. It started about five years ago when I was asked to dep as reviewer at a Maidstone Symphony Orchestra concert. They knew that I was a) a professional writer and b) a season ticket holder so I suppose I was an obvious person to approach when their regular man (now an editor I work for regularly) was indisposed.

From there the work grew. These days I review most of MSO’s concerts, Brighton Philharmonia at Brighton Dome, many of the Philharmonia concerts at Marlowe Theatre, Canterbury and lots of stuff around London including Opera Holland Park, various concerts in all shapes and sizes and – of course – the dear old Proms which feels like coming home.

I’m in a privileged position with the Proms because my lovely editor gives me “first dibs”. This year I picked eight and managed, despite this summer’s horrendous personal problems, to get to seven of them. I shall make sure the National Youth Orchestra concert is top of my list next year because I really would like to hear them but that particular evening was just too difficult this time round.

Personal 2019 highlights included Bernard Haitink conducting Vienna Philharmonic, Daniel Barenboim with West-Eastern Divan and Semyon Bychkov with the Czech Phil. The “semi-staged” (better if they hadn’t bothered) Glyndebourne production of The Magic Flute was wonderful to listen to but bonkers to watch. As ever with such an enormous festival as the Proms – which seems to grow in ambition and scope every year – some you win and some you lose.

One of the things I really like about the Proms is the eclectic audiences they attract and I don’t recall that being so evident when I was young or perhaps I was less attuned to such things then. People bring children – lots and of them and not just the ones with musically enthusiastic parents with origins in the Far East. You see young people in their teens, twenties and thirties there independently too. There are also lots of people, eyes shining, for whom going to classical music concerts is clearly not something they do often. You hear them reading the programme and commenting wondrously – and that’s terrific. The Proms really do seem to reach a lot further than most concerts at say, Royal Festival Hall or The Barbican usually do.

For the record, I have never been a “Prommer”. I didn’t fancy standing up for a whole concert even when I was 15 and I certainly couldn’t do it now. Back in the day I bought the cheapest gallery seats that pocket money or my college grant would stretch to. Now, because I’m reviewing, the BBC gives me a nice stalls seat from which I can see fingers on keys and drum sticks and batons in action very clearly. Either way, it still feels like a very congenial party.

What are you supposed to feel at the funeral of a dearly beloved partner with whom you have shared over half a century of your life? Devastated, is the answer in my case. All the strength, urbane front and cheerfulness that I’ve paraded for the last three weeks suddenly evaporated as I stared weeping at the beautiful wicker coffin, topped with white lilies, which I’d chosen.  The enormity of my loss suddenly hit me like a sledge hammer and the one person who could, once, have comforted me wasn’t there.

But funerals are about shared grieving, letting go – and of course, celebrating a life well lived. It was, therefore, utterly wonderful to see, in the congregation, so many people from so many aspects of the life Nick and I enjoyed together for so long: a unique, eclectic and rather special group. I was flanked by my sons, and three of our four granddaughters (GD4, aged 4, had gone to nursery as usual) and our daughters-in-law. The rest of the  family – including some gloriously extended bits of it – was very well represented. Also present were three of my editors and one of the carers who helped me look after Nick at home during the last months before he went into hospital. Then there was an old school friend of Nick’s and his wife along with a former student of mine and her infant son, my younger son’s lifelong friend, two neighbours and a friend of a (very old) friend who happens to live locally. They had come from all over the country. There were, inevitably, many more people who couldn’t for personal, professional or geographical reasons be with us on the day. Right up to the last minute I was getting loving messages from Italy, America, Australia, Yorkshire, Somerset, elsewhere in London and many more.

The service was magnificently led by a school friend of mine, one of the first women in the country to be ordained.

I’m not a conventional religious believer and neither was Nick. Although we met in a church youth club and both came from church going families we rejected the doctrines and trappings before we were out of our teens. Nonetheless, these days, I can go along with some sense of a force of love and goodness in the world and it was very much in evidence at Nick’s funeral. I could feel it, palpably buoying me up as I mopped the (many) tears.

I loathe the clinical, fake tastefulness of crematoria. They exist for one purpose only: processing the dead. And I wanted something warmer, less rushed and more rounded than that for Nick. So we went back to St George’s Church, Forest Hill where we were married in 1969. Structural problems led to the demolition of the old Victorian barn of a building fifteen years or so ago. The airy modern church built on the same site, but incorporating the original stained glass rose window, is stunningly beautiful and it felt absolutely the right place to be. Inevitably there were at least eight people present who also were at our wedding, fifty years ago including the best man and all three bridesmaids. Rather a lovely bit of continuity.

I asked people not to wear black and the sun was shining merrily so the atmosphere was light and bright.

We played five pieces of classical music which Nick might have chosen himself, ranging from the poignant to the upbeat, and included some silences for reflection. Felix read a Hilaire Belloc poem. Bernard, Nick’s first cousin,  read a Christina Rossetti poem and Lucas delivered a beautifully thought out eulogy which really paid tribute to Nick’s varied life along with anecdotes about spilled honey, dishwashers and socks which had to be drawer-filed in colour order.

The trick, of course, is to try to stop thinking about illness, that hideous cow Ms Alzheimer’s and the ghastliness which beset the last few months. Instead you have  to make your mind leapfrog back to happier times. The montage of photographs Felix set up on a loop at the reception (I hate the word “wake”) was a brilliant idea. I had forgotten Nick showing us on visit to Dover Castle that, yes, he really had learned – at a yoga class – to stand on his head. There were pictures of him at all ages and stages – often with cats and or babies. Or me. Or his parents. Or with one of the many cars he owned over the years. It made a good focus and talking point.

So now I’m a widow, trying not to weep too much because it makes me feel so wretched. My new life starts here. It’s unknown territory and I don’t know how it’s going to pan out. I shall carry on working. I’ve never wanted to retire and I want it less than ever now. Working makes me feel part of the real world and reminds me that I still have a purpose in life. I also have some holidays planned and lots of invitations to spend time with friends and family.

The psychological effect of a funeral is odd though. It’s like a door finally, finally slamming. It’s bleak. Nick ceased to exist on 20 August and I was very rational about that. I now realise, though, that in a sense he wasn’t quite gone during that limbo period. He is now.

So this is the last of these Alzheimer’s blogs. Thank you for staying with me for so long. Over and out.

 

Main image. At the church door. Resolutely no black “Smile. You’re enjoying yourselves” as Nick would have said as soon as someone produced a camera.

FuneralOoSleaflet

It is now 20 days – almost three weeks –  since Nick died of Alzheimer’s on 20 August. And I find myself in the strange terra incognita of early widowhood. A few thoughts  about grief and grieving before the funeral on Thursday after which I will write a final blog.

It’s a time of discovery in several ways. First, Louis Armstrong was right. It is indeed a wonderful world. Never mind scumbag politicians, silly strikes or even terrorists. The vast majority of people are astonishingly kind, caring, thoughtful and good. I have had over forty cards and letters and literally hundreds of emails and social networking messages. I have never felt more warmly supported.

On the other hand dealing with others isn’t always easy because this is such a Big Thing. If I meet a casual acquaintance when I’m out working who says “How are you?” and obviously doesn’t know, it’s hard to know how to answer because if I tell the blunt truth she or he is immediately very embarrassed. But if I say “Fine, thanks” and move on, the next day they will hear what has happened from someone else and think it was very odd that I didn’t mention it. So I usually end up with something like: “OK – ish but not the best of summers. Sorry, you’ll wish you hadn’t asked but the truth is …”

Then I have to get accustomed to living alone – in the house we moved to three years ago with high hopes of a long and happy time here together. Most of the time it’s all right. I have, effectively, lived solo since Nick was admitted to hospital on 03 July apart from odd nights that sons have stayed and two weeks when my regular visitor (an old schoolfriend who lives abroad) was here for her summer residence. So I’ve had time to get – sort of – used to it. I have the radio on almost all the time (Nick hated that unless he was actually sitting, listening to it) for company and the Cat is earning his keep. Darker evenings may be harder. We’ll see.

There is always plenty to do after a death and Lucas and Felix and I are working through it all. Between us we’ve now done all the important notifying and we’ve hired a local solicitor to help with probate which, for a couple of boring legal reasons, has not turned out to be quite as straightforward as it should have been. We’ve dealt with Nick’s possessions too and restored the house to normal.

I also have a busy work diary – I reviewed five shows last week. At the point when Nick died I was just one week off two big deadlines which I’d been trying not to think about. In the event I got that work done and submitted on time so that was satisfying, a relief and oddly therapeutic because it felt like Real Life of which I had had very little for many weeks. Work will be what saves me, I think.

And of course there are things I don’t miss at all: worrying every single moment I’m not in the house, dealing with incontinence and disability and, latterly, spending hours every day, anxious and tense, at Lewisham Hospital and so on and on.

I can now eat what and when I like too. I’m so revoltingly practical and sensible that I now have a freezer full of home cooked single portions of all my favourite dishes – some of which, such as mushroom stroganoff and Lebanese moussaka, Nick wasn’t fond of so, in practice, I used not to have them very often. Now I can.

Inevitably there’s plenty I do miss, though: the warmth of his hand, his smile if he heard an especially lovely bit of music, the sound of his footstep around the house and a lots, lots more. And, once upon a time, he did all my paper work, managed the dishwasher and put the bins out. Fifty years is a long time to share your life with someone.

I struggle a bit with what I’m actually feeling and what I’m meant to feel at this moment. I suppose everyone’s different. I knew almost from the moment Nick was diagnosed in 2017 that this disease was going to consume him quickly. And if I have a strength it’s being able to look the truth straight in the eye – and then plan on the basis of reality, however awful it is. I have therefore thought a great deal about how things would be, and what I would do, after his death. I’ve been “acquainted with grief” as Messiah puts it for a long time. And I think that preparation is helping now. I also know – unequivocally and with total certainty – that, hideously cruel as it was and much as I loved him, Nick had lost all quality of life and his death was a relief for him as well as for us.

None of that, of course, means that I’m not brittle and, inevitably, it takes very little to reduce me to tears – but usually not for long. Sometimes I get involved in work or something else and don’t think about any of it for a whole half hour. Then I remember and press it like a sore spot to see if it still hurts. It does. Obviously.

I also have very painful back problems which started about a month before Nick died and have worsened since. Of course it can’t be coincidence. My body is protesting about what it, and I, have been through in recent months. In some ways this is, at present, causing me more “grief” than anything else but I have sought expert advice and am doing all the right things.

I’ve been told, by several people, that it’s common to hit rock bottom at about three months. That takes me to the end of November – the beginning of the panto season when I am usually pretty busy. Maybe this year will be different. Don’t know. This new life of mine is like being in a completely foreign country where I don’t understand the language or what’s going on. Best just to take each day as it comes and “let the grief in” (as a wise friend advised last week) when I need to, I suppose.

FUNERAL ANNOUNCEMENT: Nick’s funeral will be held at 11.00am at St George’s Church, Vancouver Road, SE23 2AG on Thursday 12 September and afterwards at the Fellowship and Star, Randlesdown Road, Bellingham SE6 3BT for a light buffet lunch. Absolutely anyone who knows us is warmly welcome but it would help for catering purposes if you could let me know if you plan to join us. Please don’t wear black. No flowers please (apart from mine and Lucas’s and Felix’s) but we’d love it if you could donate to the memorial fund in aid of Ash Ward at Lewisham Hospital where Nick spent his final weeks. You can do it via Go Fund Me https://www.gofundme.com/f/nicholas-elkin-memorial-fund?utm_source=customer&utm_medium=copy_link&utm_campaign=p_cp+share-sheet  or if you’d rather contact me privately I’ll give you my sister’s details for cheques and BACS – she’s coordinating the appeal.

Silver Wedding

Our Silver Wedding in 1994. Not quite sure why we all felt the need to dress to match the curtains …

Let me share an, apparently unrecognised, fact of theatre life: You cannot review a show properly without the names of the creatives and cast.

Of course if it’s a big show there will be a printed programme which the PR person efficiently gives you (if it’s press night) with your ticket. If you’re attending a non press-night performance then your programme is usually waiting for you at the box office although I have sometimes – too often – had to negotiate with the Front of House manager for it.

The problem is small and/or Fringe shows which can’t afford printed programmes. Fair enough. But it would cost almost nothing to type and print off a sheet of A4 (or even half a sheet) and give it out with the tickets or at the door of the auditorium.

My critical heart sinks when I ask for this information and am told that it will be emailed to me “immediately”. It rarely is. My working habit is to write the review straightaway – often within an hour of the show coming down. I need to do it while it’s fresh in my mind and before I see anything else. Sending me the info three hours later is not good enough. And in one case this week it never arrived at all.

Both times, this week I managed to write the review properly having done time consuming Internet detective work (I’m a journalist after all) to find the names I need but I really shouldn’t have to.

Producers are very keen indeed to get reviewers in – not always easy for Fringe shows. Once they’ve persuaded someone to come they really should treat the critic with a bit of rudimentary courtesy and consideration. Like production companies, we have schedules to manage, deadlines to meet and bills to pay.


No such problems when I saw one of British Youth Music Theatre’s summer productions: Fight Like A Girl a couple of weeks ago. It was a treat to see 40 young people aged 12 to 21 being so well directed and developed in a thoughtful, topical piece by Nick Stimson and James Atherton – and I was provided with a professional, informative programme.

BYMT, currently celebrating its 15th birthday, is now based in Mountview Academy’s splendid new building at Peckham and this was my first experience of its fine, zingy theatre space. It’s obviously a happy partnership too. I was pleased to see that Mountview’s principal/artistic director, Stephen Jameson, was supportively present – even on an August evening when Mountview itself wasn’t in session. Industry links at their best.

Hello Again continues at the Union Theatre, London until 21 September 2019.

Star rating: two stars ★ ★ ✩ ✩ ✩

This show is effectively a rather bitty song cycle featuring ten scenes in which ten performers explore coupledom in various combinations.

Inspired (or something) by the play La Ronde by Arthur Schnitzler, Michael John LaChiusa’s songs and situations invite us – I think, although it’s far from clear – to see contrasts and parallels.

Moments include two gay men making love aboard the sinking Titanic, a soldier succumbing to a prostitute in 1900 and an actress with a senator in 1995. It contrives to cover the whole of the 20th century …

Read the rest of this review at: https://musicaltheatrereview.com/hello-again-union-theatre/

Star rating: four stars ★ ★ ★ ★ ✩

This show comes in several versions and I suspect this one, with its clunky dialogue and long tortuous first half, is not the best.

Nonetheless this talented young cast, aged from 12-22, imaginatively directed by Alex Sutton, turns it into a compelling, energetic, very enjoyable piece of theatre.

Toby Turpin is outstanding as Billy Crocker, the stowaway on a transatlantic voyage who – for all sorts of daft WS Gilbertesque reasons – ends up impersonating a seasoned criminal. He has terrific stage presence, sings with warm conviction, dances a splendid pas-de-deux with Lulu-Mae Pears (also good) as his love interest, Hope, and deserves to go far.

Miguel Rivilla does well as Moonface Martin, bearded and scowling in his unlikely impersonation of a nun and listening with professional intensity during his every minute on stage…

Read the rest of this review at Musical Theatre Review: http://musicaltheatrereview.com/anything-goes-the-other-palace/