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Suffering for art? No thanks

It is, of course, a fashionable theatre-going requirement to admire, and feel empowered by, the scruffy “edginess” of improvised venues. I don’t. Sorry, but there it is.

I saw a very fine show (Associated Studios with Sister Act) at Vaults Theatre near Waterloo this week. The walk into the theatre (I’ve been there before but had evidently blanked out the awfulness) is like some sort of Soviet Russian dungeon, the bar so dark you can’t see to read the programme, the “recycled” seats uncomfortable and the lavatory provision woefully inadequate. It’s a good job  the quality of the show was so high that it almost made up for it.

I loathed the old Union Theatre too in its original home where the subterranean loos were dismally abysmal and any sort of creature comfort missing. The new premises over the road are much better. The only thing I miss about the former premises is the charmingly run café (separate business) which used to operate in the entrance arch.

Many pub theatres – much as I love their feistiness and the work they often produce or receive – struggle to be adequately provisioned too. I’m confident that The King’s Head, for example, in many ways the best pub theatre in London, won’t expect its punters to teeter down a steep flight of stone steps for a wee when it moves into its new premises on Islington Square (next year?)  There will, I hope, also be a tiny bit more room between audience members. Call me old fashioned but I really don’t care for this haunch-glued-to-haunch business with complete strangers and it must be a lot worse if you’re larger than I am. The Old Red Lion, also in Islington, springs to mind for its dreadful ladies’ loo too although the pub/bar area at the front is lovely.

Not that a theatre has to be opulent to work. Some of the old glitzy Victorian theatres are nearly as cramped and uncomfortable (The Fortune and Ambassadors Theatres, for instance) as tiny, make-do ones. Some new theatres – New Diorama and Above the Stag – are quite modest but decently comfortable. It can be done without resorting to the full-scale comforts and size of, say, The Bridge Theatre.

I feel like the little boy (girl?) in Hans Christian Andersen’s The Emperor’s New Clothes story. I think it’s time some one said it. Let’s stop smilingly pretending that tatty, cramped dives with dreadful lavatories are more artistically expressive than venues which conform to modern standards.

Union Theatre

I enjoyed the recent, witty, rueful correspondence in the Daily Telegraph about the age or stage at which you stop “falling over” and start “having falls”. I’m inclined to think the change takes place when you can no longer get up. But it’s all academic and doesn’t make much difference what you call it. In recent weeks Ms Alzheimer’s – or one of her pals – has firmly shoved My Loved One into the “having falls” category.

During the last month he has, as I have detailed, fallen in our younger son’s house and almost severed his ear lobe, gone headlong in our own garden and broken a finger, slipped getting out of the shower and knocked me over (it would seem we even share bruises these days) and fallen a second time in the garden and grazed his arm. Yesterday I came downstairs to find him distressed on the dining room floor, apparently unhurt but quite unable to help lever himself up. Thank goodness for the family WhatsApp group. GD1, who’s training as a nurse, made some very helpful suggestions. In the end I went next door where Ben (not his real name) lives with his partner and his feisty, 94 year old Granny whom they look after. Thank goodness he was in. Not only did he drop everything to help me get MLO off the floor but he gave me his mobile in case of future problems. “If I’m not here I can ring my uncle up the road and he’ll come down” he said. I was almost weeping with gratitude by the time he went back to his Granny.

The worrying thing about all this, of course, is that we are presumably at serious risk of a much worse fall any minute. And it’s pretty hard to prevent because you can’t reason with someone into whom Ms A’s claws are so deeply embedded. I can say until I’m hoarse with repetition: “Now just sit there and look at the papers/listen to the radio [substitute as appropriate] while I go and make the bed” but within a few seconds he’s forgotten what I said and is on his feet shambling about. Part of the problem, I think, is that he’s suddenly – for no physical reason I can fathom – become very hunched. He’s now inclined to shuffle, head and arms toward the ground like a very slow, sick gorilla. It’s not, as I keep trying to explain to him and failing, how human beings are supposed to walk. It means the centre of gravity is awry and he’s inclined to tumble forward.

So he now really has to be watched almost continuously. I am – and this is a first – writing this blog on my iPad sitting next to him at the table so I can keep an eye on him as I type. It is no longer safe, other than when I know he’s resting horizontal or late at night when I’ve got him to bed, to leave him unsupervised even for a few minutes. Realistically I can no longer repair to my upstairs office where all my things are and where I feel instantly in work mode.

Yes – before you ask the obvious question – the local NHS “Falls Service” have been notified of our predicament. An occupational therapist is coming from there later this week to assess him and make some suggestions about safety. Well, our elder son has already put in ramps and a second stair rail. And while I was away a couple of months ago, he sensibly put some grab rails up. He knew I’d protest so he just did it as a fait accompli in my absence and he was right. The OT will probably “prescribe” more and I’m not looking forward to her visit. I’m torn between trying to be sensible and caring and agreeing to the “desecration” of the house I’ve worked so hard to get as I want it –  and how I like it –  over the last three years since we downsized from Kent.

It is clearly time for more “help” too although I know I shall loathe the intrusiveness of it. I’m in the process of applying for one of those dreaded “social services packages” to supplement the care I’m already paying for to cover my absence when I’m out working. Even the doctor at at the emergency care clinic last week was surprised that I have no official help – and that was a bit telling.

A lot is said and written about maintaining the independence and autonomy of people with Alzheimer’s and similar conditions. One hears much less about the independence of the carer. It now costs me a substantial sum in “man-sitting” fees every time I leave the house and now, it seems, I can’t even exercise my freedom to go where I want, when I want, within the house. As I often say to anyone who’ll listen: All I have ever really wanted to do is to carry on working. And I get really frustrated when circumstances make that so difficult because work is my lifeline. Nothing to do with money – it’s what keeps me sane.

 

One of the greatest pleasures of being an education journalist with a foot in the performing arts camp is meeting young actors at the start of their careers and then watching them develop.

I first met Nathan Wade at the Barbican some years ago when, at the show with a school party, he recognised me from my Stage profile. He and I have kept in touch ever since. He went on to train at the Lyric Hammersmith and has been through the excellent National Youth Theatre Rep Company scheme. A few months ago he was wowing audience with Boys at the New Diorama and he’s currently appearing in Aesop’s Fables at Unicorn Theatre. And it gives me a real sense of vicarious pride to think that he now has a proper career.

When I spotted talented Katharine Moraz in her Mountview graduate showcase some years ago I commented in my review that she was a lively performer. Afterwards her face bugged me because there was something vaguely familiar about her. Eventually I worked it out. I was on nodding terms with her at the pool in a Kent town where I then lived and, by coincidence so did she. It just took me a while to reconcile two totally different contexts. I’ve followed her career with interest and have seen her in a children’s show in Margate, in the national tour of Avenue Q, in the national tour of One Man Two Governors and other things as well as interviewing her more than once and bumping into her by chance in Kent several times. Now clearly well established, Katharine is touring in War Horse at present.

When Annemarie Lewis Thomas, whom I didn’t then know at all, started TheMTA (Musical Theatre Academy) in 2009 she invited me to sit in on some of the inaugural auditions which I did and wrote about at the time. I saw the talented Sam Hallion audition and was delighted when Annemarie and her colleagues offered him a place. Ten years later Sam has toured several times with Joseph and the Amazing Technicoloured Dreamcoat, played Matthew in the Jesus Christ Superstar tour, been in Little Shop of Horrors at Catford Broadway, starred in Polka Theatre’s Flat Stanley and done a lot of television work among other things. Nice to know that my gut feeling about his future ten years ago has since been proved right. Another student in theMTA’s inaugural intake was Samantha Hull whom I’ve seen working many times including in the London Transfer of Chichester Festival Theatre’s Half a Sixpence. She made her RSC debut last winter in A Christmas Carol.

A few years ago I interviewed Naomi Ackie just as she was graduating from Central, She had attended a summer school there three years earlier and thefore fitted the profile I needed for a piece about the springboard potential of summer schools. So I’ve noticed her successes: lots of TV including Game of Thrones  and film as well as theatre. I saw her in a show at Unicorn, not long after she graduated.

I find these profiles – and I’ve picked only a handful of examples from the many dozens I’ve had dealings with – really encouraging. And I’m honoured to have been in a position to witness their burgeoning careers.

Another in the series of drop-in guest blogs. This time it comes following an over-nighter in London to do some bits and pieces of maintenance at my parents’ house, and to see them and how things are, as it had been a few weeks since I last saw Nick, my Dad.

It occurred to me on this visit what an efficient group of planners the Elkin clan are. My brother is now regularly organising teams of plasterers, electricians, carpenters and so forth as his plumbing business grows. Pretty straightforward really, he tells me.  Simply make sure you’ve booked the right people with the right materials for the right time in the right place, then it looks after itself. He’s right: with another of my hats on, this is the exact same approach I take to fixing show bands, orchestras and rehearsal accompanists for theatre productions I’m in involved in. Yet we’re both somewhat in the shade compared to Susan, whose diary is a work of art, even more so now that she has to include Nick’s various appointments and carers into an already packed work schedule.

The common element here is extensive pre-planning, which seems to come naturally to us all. And with my musician’s hat on, I’ve been turning my thoughts to funeral music (excluding the promise made regularly to Susan since I was about ten years old, gleefully promising her ‘Ding Dong the Witch is Dead’!)  I’m in the final stages of rehearsal for Festival Players’ forthcoming production of Evita (https://www.adctheatre.com/whats-on/musical/evita/) Whilst at a rehearsal last week some friends took some time out to sing through the Sullivan part-song “The long day closes” with me (words: Victorian sentimentality at its most gloopy; music: sublimely beautiful). Whilst I’ve known the four part male voice version for years, an SATB arrangement was thrown up by an internet search for something else, and I was interested to find out whether it worked, and how it sounded in the dropped key of Ab. Very well indeed is the answer, and my big thanks to Liz, Caroline and DeeJay (pictured, partially in 1940s costume shortly before the tech rehearsal!) for so willingly giving up the time, not to mention their superb sight-reading skills. I stalled a bit when they asked me why we were looking at it. I mumbled, embarrassed, about how it might work for a forthcoming funeral. Difficult to admit you’re considering suggestions for the funeral of person who is still alive.

I mentioned I went down to see how things are with Nick. Pretty dreadful, in truth. For the first time he lost track – temporarily – of who I was. Whilst I’ve always known that was going to happen eventually, the actual moment was quite tough and has left me a bit raw since. Susan writes regularly on this topic, but spending time with the confused, tearful, stumbling old man who was once my father is becoming ever more gut-wrenching. Perhaps finding a few minutes’ calm in choral music doesn’t seem so bad after all.

Here is a link to a recording of the Sullivan part song Lucas mentions. SE  https://youtu.be/ixZM016vN7o

Our Town – ★★
By Thornton Wilder.
society/company: Regent’s Park Open Air Theatre
performance date: 25 May 2019
venue: Regent’s Park Open Air Theatre

Photo: Johan Persson

★★

There are several enjoyable elements in this revival of Thornton Wilder’s 1938 theatrical experiment. I’m afraid, however, that a splendid central performance from Laura Rogers, some haunting singing, touching moments and strong sound design does not make this piece cohere. And sometimes its 2 hr 10 minute run time (including an interval) seems a long haul.

Basically it’s a play within a play although I would probably have struggled to work that out had I not read it up at home first. We are in a very ordinary New Hampshire town in the early years of the 20th Century at three different times, the story of which a company of actors are later acting out in small scenes. Laura Rogers, as Stage Manager, narrates the story, introduces the characters and comments on their experiences of birth, death, marriage, family life and hard work. She brings attractive, witty warmth to this along with a nicely judged sense of impartiality.

There’s a great deal of quite neat mime from this unusually large ensemble cast of nineteen. Thusitha Jayasundera as Mrs Webb stringing beans, helped by and chatting to first Pandora Colin as Mrs Gibbs and then by her daughter Emily (Francesca Henry – good) is convincing, for example. So is Rogers, temporarily and hilariously, becoming the gruff drugstore owner, making ice cream sodas.

I also like the way characters quite often emerge not just from auditorium aisles but also from seats. It’s imaginative use of space and mildly immersive. Otherwise most of them sit on a bank of seats facing us to suggest that they are rehearsing in a theatre. And it’s excellent to see such a gloriously diverse cast including two fine actors with visible disabilities.

The point that director Ellen McDougall and her cast are trying to make – as indeed the playwright is – is that every community – however tucked away and humdrum – is a microcosm of the great themes of human life. For me this production doesn’t deliver that message as powerfully or clearly as it might.

Photo: Johan Persson

 
First published by Sardineshttp://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Regent%27s%20Park%20Open%20Air%20Theatre%20(professional%20productions)-Our%20Town%20-%20%E2%98%85%E2%98%85&reviewsID=3585
 
Tom, Dick and Harry
By Ray Cooney and Michael Cooney
society/company: Theatrecraft
performance date: 23 May 2019
venue: Playhouse Whitstable, 104 High Street, Whitstable, Kent. CT5 1AZZ
 

A classic British comedy/farce which sits somewhere between Only Fools and Horses and Arsenic and Old LaceTom, Dick and Harry is only as good as the skill of the directors and actors to make the absurd seem slickly plausible. And I’m pleased to report that it’s in pretty good hands with this company.

Tom (Norman Holness who also directs of which more anon) and his wife Linda (Louise Dekker) are expecting a visit from an adoption agency. But his brothers Dick (Conor White) and Harry (Joe Morgan) get in the way in a narrative which includes a bin liner full of body parts hidden under the sofa, smuggled cigarettes and brandy, a pair of illegal immigrants, the police, the London mafia, lots of doors, people being pushed upstairs and out of windows and much more.

Ray Cooney and his son Michael are very good at writing this sort of warmly and enjoyably silly stuff and this production is very funny indeed in places. I liked the adherence to period (it dates from 2005) with just one tiny mobile phone, historic property prices and the right sort of clothes too.

When I arrived at the theatre, I was presented with a – completely unnecessary as it turned out – written apologetic account of the misfortunes which almost scuppered this show. It was also explained in the programme and in a verbal announcement before curtain up that two serious medical emergencies in the original company involved Holness taking over as director and then, only two weeks ago, also having to play the lead role which is huge. He’s an accomplished naturalistic actor who made the long-suffering Tom seem very real and believable and he got through the entire show with only a couple of subtle prompts – a fine performance by any standards. And the piece is well directed to bring out the daftness and make intelligent use of the space.

Conor White is outstanding as Dick. He’s a very slender build which somehow heightens the comedy as he bounds around the stage like a mountain goat and propels himself up the stair case in a single hop. He plays beautifully off the others too with lots of fast dialogue, focused listening and nice gesture work with his hands. Let’s see more of him in other roles soon please.

Everyone else in the cast works with pleasing coherence although the men are, generally, stronger than the women. Joe Morgan is fun as Harry, the dim brother with the daft ideas and Nick Easton is convincing as the Kosovan refugee who gets hold of a bottle of brandy.

This show is a commendable piece of community theatre which I found well worth the drive down from London for.

First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Theatrecraft-Tom,%20Dick%20and%20Harry&reviewsID=3584
Vincent River – ★★★★
By Philip Ridley
performance date: 21 May 2019
venue: TRAFALGAR STUDIOS (2) 14 WHITEHALL, LONDON SW1A 2DY
 

Louise Jameson and Thomas Mahy. Photo: Scott Rylander

★★★★

This searingly powerful two hander about, among other things homophobia dates from 2000. It is as fresh and, sadly, as relevant as ever. First seen at Park Theatre last year the production is a fine example of how two people from different generations – Louise Jameson an experienced, mature actor and Thomas Mahy at the beginning of his career – can work together with sensitive intelligence. Full marks to director, Robert Chevara for enabling that chemistry to resonate so effectively.

Jameson’s character, Anita is mourning her gay son, Vincent who was murdered in a East End gang attack. Davey (played by Mahy) has been hovering outside her home so she invites him in because she is convinced he knows things about her son. Eventually they talk properly, begin to relax with each other and we learn what really happened to Vince, the agony of which has you on the edge of your seat.

Jameson’s Anita is variously brittle, sardonic, edgy and anguished. At one point she howls in despair and it’s pretty memorable. This is a mother bereaved of her only child in the most terrible way. The pain is literally epic – with a strong sense of Greek drama.

I hope we’re going to see a lot more of Thomas Mahy very soon because he is an outstanding actor. Initially his character is very abrupt and truculent and Mahy does it beautifully just as he manages the gradual thawing (helped by gin and joints) and revelation. Just as Anita has lost a son, so Davey has lost his mother to cancer. And, no spoilers, but he’s struggling to acknowledge his own sexuality. There are some long impassioned speeches towards the end of the play which to which Mahy brings electifying passion, pain and angst. It’s a bravura performance.

Louise Jameson and Thomas Mahy. Photo: Scott Rylander

 
 First published by Sardines http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-West%20End%20&%20Fringe-Vincent%20River%20-%20%E2%98%85%E2%98%85%E2%98%85%E2%98%85&reviewsID=3580

I am heartily sick of seeing attractive photographs of beaming, jolly people with Alzheimer’s. You know the sort of thing. The Alzheimer’s Society and comparable charities pump them out on social networks every day along with upbeat stories about astonishing people who’ve just climbed Everest (or something) for charity five years after diagnosis.

Yes, I know that when a disease is incurable and inexorable the only thing these organisations can do to support the newly diagnosed is to try to be positive. “Let’s all look on the bright side” might have been written for them. The ghastly truth, when you actually live with it 24/7, is so frightful that it would scare the pants off most people if it were spelled out.

Well, I’m sorry (but not very). I don’t do denial and lies.  My Loved One – now I think technically at the “moderate to severe stage” –  is doubly incontinent. I’ve hinted at this before but truth will out and there it is in black and white. I have to hose him down night and morning and often several times in between. I never had any sort of nursing vocation, I reflect, as I wipe dollops of excrement from the bathroom floor,  soap more of same off his legs and dispose of filthy pairs of throwaway padded pants. Sometimes I can hardly believe I’m doing it.  At present our black bin is emptied fortnightly and with everything tightly wrapped that’s just about OK. If they try, as some boroughs are threatening, to reduce it to three weekly or monthly it most definitely won’t be. Nothing about such matters in those upbeat photographs, I notice.

MLO is, incidentally, now quite beyond managing any of this for himself. He can just about clean his teeth if I put the paste on the brush and lead him to the basin although he makes a horrid sticky mess of it. He also still shaves. Again, I run the warm water, take him there, line up the four items (brush, soap, razor and after-shave) he needs and leave him to get on with it. It takes 40 minutes or so. I doubt that he’ll be able to do it for much longer. Then what? Grow a beard? I don’t think I’d be much cop as a barber.

He finds sitting down on any sort of chair very difficult to co-ordinate – simply getting his bottom above the seat and bending his knees to lower himself is a major operation. When we’re out – from medical appointment to theatre to sitting on a bench in the park – other people usually help. So kind, as I’ve often said. At home if it’s a meal he’s sitting to, he then can’t manage the cutlery so I cut it up for him and give him a spoon. He eats very messily these days however easy I try to make it for him. He’s much less prepossessing in many ways than any published Alzheimer’s charity ad.

He is extremely wobbly on his legs and often gets “the shakes”. Regular readers will recall the recent severed ear in Brighton when he fell. Since then he has fallen in our bathroom and again on Spring Bank Holiday Monday earlier this week in our garden. The latter meant the whole afternoon at a local emergency care centre because he dislocated and fractured his left hand ring finger. We’re now “under” the fracture clinic and the Falls Service (as well the Memory Service, Speech Therapy, Podiatrist, GP Practice and more) of which more, maybe, in due course.

And as for all those smiling faces – often euphoric as they look at photograph albums for example – in the pictures, the new MLO now has a blank expressionless gaze. There’s a rather old-fashioned un-PC expression about someone “not being all there”. Absolutely accurate. He definitely isn’t there much (most) of the time.

Then there’s the usual Alzheimer’s memory/cognition stuff which is worse every day. He remembers almost nothing. I can say “We’re going out  this afternoon” ten times in a morning and he’s still surprised when I tell him it’s time to go. I ask him if he wants a slice of cake and he says yes. By the time I get back to the table with it, he’s shambled off and, when I remonstrate says “ I didn’t know I was having cake.” And the non-sequiturs are continual. Inclined to follow me about anyway, he was today lurking behind the front door when I came in from watering the hanging basket by the porch. “Oh do go and sit down” I said in irritation. “It was for toast” he muttered.

Oh yes, the muttering. He now speaks mostly in a very low voice in between bouts of coughing. Both these, apparently, are the result of a failing swallowing reflex. Then there are frequent bouts of Jabberwocky- style nonsense words. Great stuff, this disease is it not?

I could go on but you’ve probably got the gist. A spade is most definitely a spade if I’m in charge of it.  MLO is now a leaky, seeping, accident-prone body with whom you can no longer have any sort of conversation and he’s often very irritable – not a wholesome,  cheerful old gent who has just forgotten a few things,  smiling happily out from a charity photograph

The stark, stock image with this blog shows life with Alzheimer’s as it really is. All rose coloured spectacles should go in the bin.