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Salad days

Sixteen months on from diagnosis and Ms Alzheimer’s is unstoppably tightening her grip. Or to put that another way I can almost see those sinister, devastating, toxic, amyloid clumps in My Loved One’s brain growing bigger and more numerous every day.

He has forgotten how to operate the microwave. All my attempts to re-teach a very simple procedure have failed so I have now given up. He can’t turn on either level of our double oven either. It confuses him that there are two. He can’t work out which switches control which and is thrown by the fact that there are two switches (on/off/mode and temperature) for each.

One evening a few weeks ago I went out about 5pm and left the oven on for him.  “Just put this pie in when you’re ready and give it about 25 minutes” I said and wrote it down. When I spoke to him before my show started a couple of hours later he reported that: “The pie wasn’t very nice. Cold in the middle” I suppose he didn’t time it properly or put it in the wrong oven. So that’s another strategy which clearly doesn’t work.

Until recently he could warm, say, a casserole though in a saucepan on the hob. Then a couple of weeks ago I left some potatoes, all prepped and in water in the pan, for him to cook and eat with a cold meal. When I got home the saucepan was a burned out, charred object – although I did, eventually, manage to save it with a lot of bicarbonate of soda and elbow grease. Fortunately he had noticed and turned off the hob. It was cold when I found it. If he hadn’t done that? Oh dear. At that point I decided against leaving him anything which requires heating or cooking.

So choices are now pretty limited when I am out working in the evening. Fortunately he’s always liked salad (barring tomatoes and cucumber). Just as well because he now has to eat a lot of it and I’m rapidly morphing into Catford’s most creative salad maker so that he doesn’t have to eat the same thing two days running.

I arrange it prettily on a plate, cover it with cling film and put it in the fridge. We’ve both been vegetarian since the late 1970s so I have to find non-meat/fish protein to add to it.  I’m a dab hand with all sorts of lettuce, shoots, peppers, chicory, cress, carrot, fruit, nuts, marinated/fried tofu or Quorn, hard boiled eggs, pulses, cubes of cheese, herbs, seeds and so on and on. Infinite variety, like Cleopatra.

At present it works – with instructions to eat it with bread and butter which he still seems to know how to assemble.

One of the questions professional assessors (nurses, occupational therapists et al) routinely ask is about ability to prepare food independently. The answer to that would now have to be “Not really.”

Part of the problem is that we’re both rather inflexibly locked into a life long habit of eating our main meal in the evening although I have started sometimes  giving him an eggs-on-toast type hot snack at lunchtime so that he doesn’t feel he lives on an exclusive diet of cold food. Actually, come to think of it, he probably wouldn’t notice but I’d feel I was selling him short. And of course when I get an evening at home I cook nice, hot things for us.

The bottom line is that the time is coming – and it’s coming frighteningly fast – when I shan’t be able to go out and leave him alone in the evenings at all. And I really find the prospect of not being able to work very alarming indeed. It’s my mainstay. It’s real life. It’s what keeps me sane and (reasonably!) sensible.

I phone MLO a lot while I’m out. I also write a schedule for each day telling him what I’m doing, what he’s doing, what’s happening, where I shall be and what sort of time I expect to be home. I have to print it in large letters as you would for a child.  It usually keeps him calm although there was one occasion recently when he rang me in a panic to tell me that there was a lot of traffic in our street (accident on parallel main road although he hadn’t worked that out) and he was worried about me. My car was on our drive. I’d gone out by train. Heaven knows what jumbled thoughts were alarming him.

If, Ms Alzheimer’s, you were a real person rather than a metaphorical construct of my imagination, I’d tear your bloody eyes out.

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What is the point of the perfunctory bag checks which have arrived in theatreland during the last couple of years? Apart from fatuously trying (and failing in most cases, surely?) to persuade us that theatre management will keep us safe from terrorists and the like while we’re on their premises I can’t see that they achieve anything at all.

A two-second glance can’t possibly tell the checkers anything useful. After all, if you had a gun or whatever and planned to use it you would hardly leave it sticking out of the top of your bag. It would be in a zipped side pocket, or in that slot at the base of many women’s shoulder bags which is designed for an umbrella. Or what’s to stop you concealing it in the inside pockets of a big loose coat – on which there are never any checks?

They are slightly more thorough at Royal Albert Hall where I’ve been many times recently to review Proms. There I think the checkers are proper security people. They shine a torch into your bag and I’ve sometimes been asked to move or unzip a large item at the top such as my purse or tablet case. I’m a journo, after all.  My bags are large, capacious and full of things I need to work with often in several places in a single day.

All most searches do it to create long queues outside the building where there used to be none. Trying to get through the door for Swan Lake at London Coliseum last week, for instance, was absurd. Three long queues snaked off in every direction along St Martin’s Lane, depending which door punters were trying to enter by. People were frustrated and pavements were blocked for passers-by. And, of course, delays like these mean that shows rarely start on time these days which has implications for performers, audience members and theatre staff all of whom have to plan journeys home at the end of the evening.

Moreover, I can’t be the only person who finds it intrusive. I have nothing to hide but the contents of my bag are part of my private world and I really don’t care for having it peered at and into by strangers. It makes the poor front of house person who has to do it uncomfortable too. I don’t know what training, if any, they’re given but most of them seem pretty ill-at-ease and apologetic to me.

And for what? Does any sensible person seriously believe that any of this bag search fiasco would stop someone getting into a theatre with a weapon if, heaven forfend, the determination were there?

In a small way, I prove my point every time I arrive at a venue. A sharp kitchen knife with a four inch blade and plastic sheath lives permanently in my bag. Of course I’m not going to stab anyone with it but in theory, if I were so minded and quick I could probably see off two or three people before I was stopped. I carry it, in all innocence, simply because I eat a lot of apples and can no longer, with my rubbishy teeth, bite hard fruit off the core. My bag has been cursorily “inspected” at hundreds of performing arts venues and no one has ever spotted or mentioned my knife. Pointless exercise then. QED.

So we might as well stop doing it in the way it is done now. Either we should simply not do it and trust to the laws of probability which tell us just how unlikely (although not impossible – think of the Ariana Grande concert) in statistical terms it is that a terrorist would target a theatre. Or if that won’t do then we need to find a way of checking bags thoroughly and efficiently without keeping people hanging around often in cold or wet conditions and without causing shows to start late. I have no idea how ….  But telling people to arrive half an hour early is not the answer. The ticket-buying public deserve better.

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Olivier Theatre, London.

Star rating: five stars ★ ★ ★ ★ ★ (the very best possible show of its type)

Pericles – complete with a Bulgarian choir, Indian percussionists, a cheerleader team and a gospel choir (among other wonders) – is one of the most joyfully celebratory shows I’ve ever seen.

Part of a new National Theatre initiative, Public Acts, and inspired by New York City’s Public Theater, this is community theatre at its very best.

NT is working with Queen’s Theatre Hornchurch and a number of other companies, charities and groups to make Public Acts both truly national and ongoing …

Read the rest of this review at Musical Theatre Review: http://musicaltheatrereview.com/pericles-olivier-theatre-london/

Royal Albert Hall, Thursday 30 August 2018

If ever a concert proved that you don’t have to be a glitzty, glamorous visiting orchestra to produce something stunning, this one was it. The London Philharmonic Orchestra and Choir, under their Principal Guest Conductor Andres Orozco-Estrada, quite blew me (and most of the spellbound audience) away with this account of Verdi’s finest opera, sorry, Requiem.

Logistically it isn’t easy in the Royal Albert Hall to stage a work of this magnitude. With two rows of choir on the tiers behind the orchestra and the rest in the lower rows of the designated choir stalls the furthest singers are a very long way from the conductor, who wisely took it all at a measured pace, focusing on musical detail rather than metronomic extremes to accommodate the time lag. Also potentially problematic was the distance between the sopranos and altos across the orchestra but if they were having difficulty hearing each other it didn’t show. And as for the poor tenors and basses standing within inches of the bass drum, they too seemed unfazed. All credit to them. I sang this work standing next to it once in the front row of the altos. Every time the percussionist hit her bass drum in the Dies Irae the vibrations left me literally senseless and unable to breathe or sing for the next three bars.

But Orozco-Estrada, who mouthes with the choir and supports his soloists (including mezzo, Sarah Connolly who stepped in at the last minute) very carefully, ensured that none of that mattered at all. And his focus on sensitive dynamics packed in all the drama Verdi wanted. His opening pianissimo introit was almost imperceptible in its softness. The later forces of the Dies Irae and Sanctus were rivetingly powerful. And I loved the radiant tuba mirumsection which, at the performance included the intriguing cimbasso – a form of angled bass trombone.

Also beautifully milked for emotion and melody was the deliciously sensuous lacrymosa with soprano Lise Davidsen and Sarah Connolly in duet against the brass section. Their agnus dei was nicely balanced and sung too.

All four soloists did a good job but tenor Dmytro Popov was utterly outstanding. His Ingemiso section of the Dies Irae brought the sort of clarity and brightness which makes you sit bolt upright in your seat in astonishment and admiration.

The choir (chorus master: Neville Creed) rose to the challenge and did magnificently well too. At full pelt I should think they could be heard down by Harrods – with their excellent tuning and crisp timing, especially in Verdi’s glorious Sanctus.

And finally to that quivering, passionate Libera Me which Davidsen delivered with such intensity that the audience was completely stilled – and that is rare at the Proms. Bravo!

First published by Lark Reviews: http://www.larkreviews.co.uk/?cat=3

 

Royal Albert Hall, Monday 27th August 2018

Marin Alsop is one of those conductors whose very presence in the building creates a buzz of excitement. And this time she was at the Proms for the first time with her own “band”, the Baltimore Symphony Orchestra in a concert which marked the end of a high profile Bernstein centenary weekend. The fact that Alsop was a protégé of Bernstein, and knew him well, added yet more frisson.

It was a concert which began and ended with fire. Bernstein’s Slava! (A Political Overture) is a lovely pot pourri of characteristic Bernstein jazzily syncopated melodies and includes a delightful oboe solo, percussionists visibly counting with their bodies and familiar recorded voices over the music to ensure that the piece lives up to its title.

An hour later, the concluding performance of Shostakovitch’s Fifth Symphony was pretty colourful.  Alsop, working without a score, achieved terrific tension in the first movement between the driving strings and interjections or responses from strident brass, gentle woodwind and assertive piano. She is very good too at finely calibrated dynamics and the Royal Albert Hall acoustic supports that especially when it’s (literally) full to the rafters as for this concert. Also enjoyable were the bassoon solo at the opening of the allegretto and the leader’s solo with its sparky glissandi in and out of harmonics. Then we got a suitably mysterious largo with lots of nicely controlled warmth from lower strings and a triumphant rich sound, as incisive as it needs to be, in the fourth movement.

The problem was the jam in the concert sandwich which turned out to be a very restrained, less than jammy,  account of Bernstein’s Second Symphony: The Age of Anxiety with Jean-Yves Thibaudet playing solo piano in what is, in effect, a piano concerto. Of course, the piece is Bernstein in a most sober, Samuel Barber-like mood but it’s a pity to play it so dully. Of course Thibaudet played competently and Alsop ensured that the orchestra supported him effectively but there was nothing engaging about it apart from some nifty zylophone playing.

Incidentally, this is the first time in over 50 years of concert going that I’ve ever seen a page turner on stage with a concerto soloist. There’s no reason why not, of course, but maybe it suggests that Thibaudet is still feeling his way with this piece which is why it seemed a somewhat lacklustre performance? Not that any of this stopped the enthusiastic Proms audience summoning him back for an encore.

First published by Lark Reviews: http://www.larkreviews.co.uk/?cat=3

I think a lot about obesity and about why so many people I see out and about are grossly, often morbidly, fat. And the other day, while eating a pre-show meal in a burger bar in Chichester – not my usual choice but it made a change – I had what felt like a flash of insight. Maybe not like the apple landing on Newton’s head or Archimedes jumping out of the bath but a sudden realisation nonetheless. So much so that, straying temporarily outside my usual field of writing, I feel an overwhelming urge to share it.

In Best Burgers, or whatever the place in Chichester is called, I carefully ordered a veggie burger without a bun and asked for a side salad as well. Naïve, I know, but I was astonished when it came with a large portion of chips. When I pointed out that I hadn’t ordered “fries” the waiter told me that they’re standard with any burger order. Then I looked round and noticed that everyone else in the room was tucking into a large bread bun AND chips – a double dose, in other words of carbohydrate.  Come to think of it, I see it every time I walk past McDonalds to get to the loos in motorway service stations .

Now, cards on the table. I am not, obviously, a qualified nutritionist. My claim to know anything at all about the subject stems from a period in the early 1980s when my husband got the start-your-own-business-thing out of his system and set up a whole foods company which ran for seven years. When I wasn’t teaching (I had a full time post!) I energetically made things for him to sell, went out in the evenings giving talks about our products and teaching vegetarian cookery at weekends. It taught me quite a lot about food, eating and health.

I’ve also struggled all my adult life with my own weight which means I’ve probably spent more time than most trying to work out what not to do if you want to keep obesity at bay. I’m not bad at common sense, either.

And double carbohydrates must surely be something we should be campaigning hard against if, as a nation, we’re to avoid what the press delights in dubbing the impending “obesity crisis”?

Just to be clear, carbohydrate especially if it comes from wholegrain or skin-on sources should be part of every diet – in moderation and maybe not at every meal. If you try and cut it out altogether you’ll run short of vitamins and your digestive system will  probably seize up without fibre which is uncomfortable, unpleasant and unhealthy.

But you certainly don’t need two lots at the same meal.

Here, as well as chips with burger buns, is a list of habits which I think we need to change – culturally acceptable (thanks a bunch, America) as many of them have insidiously become. And these are just examples. There are plenty more I could have included.

  • Crisps with sandwiches
  • Naan bread (or chapatti etc) with curry if you’re also having rice
  • Bread roll while you wait for a meal which is going to include potatoes etc
  • Dough balls as a starter when you’re about to eat a pizza or pasta meal
  • Pizza and chips
  • Pie made with pastry served with mash or chips.
  • Pasta or rice “salad” with a meal which includes another form of carbohydrate
  • Bread and butter with fish and chips
  • Toast with a full English breakfast which includes fried potatoes or hash browns.
  • Soup with croutons or bread before a meal including potatoes, rice etc.
  • Garlic bread with pasta dishes

If we could only raise awareness and find ways of turning opinion so that fewer people eat in this way I suspect that we might at least dent the obesity problem a bit.

 

 

 

If the brain is the conductor of the orchestral body (sorry – I’ve probably reviewed too many Proms lately) then of course it controls/directs/manages every section of it. So once Alzheimer’s gets into the works then any body function can diminish or fail in consequence – even eyes.

My loved one has been slightly short sighted for most of his adult life and like almost everyone else has needed glasses for long sight since age 45 or so. For some while now he has, like me, opted for varifocals and worn them all the time simply because it’s easier than constantly taking them on and off and then tediously hunting for them. He’s had his current pair for about a year.

Recently he has complained several times that he can no longer see the “small” (ie normal) print in the newspaper. “OK. That, unlike many of your problems, ought to be fixable” said I, reaching for the phone to book him an eye test. And in the interim I dug out the fancy illuminated magnifying glass, Father-in-Law used to use to make life a bit easier between now and new glasses

Golly, what a tiresome business it was at the opticians. We were there for two and a quarter hours and I take this opportunity publicly to thank the very kind staff at Boots Opticians, Beckenham who treated him with cheerful, unpatronsing patience, throughout.  And of course a queue of late running appointments was building up behind us but no one grumbled. People can be heartwarmingly considerate sometimes.

The test itself with the optometrist took twice as long as it should because of his indecisiveness and forgetfulness. He then “failed” the field vision test twice and they had difficulty getting him to sit naturally and look in the right direction so that the technicians could get the measurements right for the new glasses. It throws him ever more and he gets increasingly flustered if people keep asking him questions or issuing instructions, however gently. He tries hard to cooperate, obviously, but I could see him floundering and, thank goodness, so could the staff. The highlight of the otherwise wearisome morning, though, was when MLO suddenly caught my eye and grinned naturally at the absurdity of it all. The technician saw it too and we all laughed.

The upshot of that long session is that we collect new glasses this week and repeat the field vision test – “when he’s fresh” – at the same time.  And we have to go back next month for the dilation test with eye drops. They ran out of time to do this latter procedure last week, besides which I think they could see that he wasn’t going to be able to cope with much more.

Within hours of this lengthy episode at the opticians I read about a new study in Washington, reported in JAMA Opthalmology. Researchers using a non invasive technique, somewhat unsnappily called optical coherence tomography angiography (do they call it OCTA for short?) have collected some evidence which suggests that there are detectable changes in the eyes of pre-clinical Alzheimer’s patients.

There is, in these people, significant thinning in the centre of the retina, many years before memory loss and cognitive decline begins to show. Or as one scientist working on the study put it “Changes in brain cells can be detected in the retina”.  I rest my case: there IS a link between Alzheimer’s and eyes just as with every other organ and function in the body.

Well, if this test had been available 20 years ago it wouldn’t have helped us much to know that once MLO was a septuagenarian, Alzheimer’s would set in fast. But think about it.  In time it could make a difference to others now much younger than us.

At present there is no way of warding Alzheimer’s off other than by making sensible lifestyle choices – and that’s by no means reliable. It’s not like lung cancer or Type 2 diabetes which can be (but are not always) directly associated with smoking and diet.  The only available Alzheimer’s drugs just alleviate worsening symptoms in the very short term. There is no cure, as we were firmly told several times at the time of diagnosis.

If, however, very early detection technology can be developed then maybe – just maybe – drug therapies which can zap or control the disease before it takes hold could follow.  And that’s glimmer of hope for future generations.

Meanwhile I strongly suspect that MLO’s worsening sight problems are Alzheimer’s related. Fortunately he can just go on having ever stronger glasses if he needs them and if I think very hard and apply myself I might remember how to enlarge the font on his elderly Kindle.

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Thank you, Musical Theatre Review for sending me to the airiest, coolest, calmest spot in central London on one of the hottest days of the year, writes Susan Elkin.

I’m in the Theatrical Rights Worldwide office with a pigeon’s eye view of Regent’s Street five floors below, lots of white paint, theatre posters and an atmosphere of business-like tranquility.

This is the company, with a new base in the UK, which licenses – for example GreaseThe Addams FamilySpamalot and Priscilla Queen of the Desert.

“And we very much want to find and license new British musicals,” says DREW BAKER, TRC vice-president crossing his spacious office to join me on the sofa…

Read the rest of this interview at Musical Theatre Review: http://musicaltheatrereview.com/there-are-some-amazing-writers-out-there-creating-amazing-work-theatrical-rights-worldwides-drew-baker-on-the-british-musicals-collection/