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The things people say

I adapted surprisingly quickly to saying firmly “My husband has Alzheimer’s” to anyone who needs to know – and that’s most people we come into contact with. It’s taken me much longer to get used to the predictable – actually quite funny in a rueful kind of way – reactions I get, particularly if My Loved One is not there.

To be clear and fair: everyone I’ve had such a conversation with has been kind and sympathetic. People are extraordinarily decent and I’m often deeply touched by just how caring almost everybody is, ranging from close friends and family to casual acquaintances.

It’s just the way many of them go about expressing their solidarity which makes me giggle. They mean so well and they have no idea that they are conforming to a well worn pattern. First they look me in the eye, squeeze my arm or hand and murmur something warm and heartfelt about how sorry they are. Then, after a pause they say: “And I know what it’s like. My granny/uncle/mother/ grandfather/aunt/father (substitute as appropriate) had Alzheimer’s”.

“Yes, it’s in every family. Just the shit life throws at you” is my stock response as I try to keep it light. But I know what’s coming. My comment triggers an enthusiastic nod before the person I’m talking to launches headlong into a lengthy, often very detailed, account of just how ghastly it all was.

I then spend ten minutes or so hearing how Mum (or whoever) lived to be 102, not recognising anyone in her family for several years before she died. She became, moreover, hideously and uncharacteristically aggressive and had to go into a nursing home for her own protection and that of other people. Meanwhile she was also doubly incontinent for ten years … and so on and on.

I have heard dozens of these sad and appalling stories since we went public about our predicament and I started these blogs. I made that particular one up – it’s a composite but you get the gist.

Well, I suppose it’s beneficial for people to get such sadness off their chests even if it all happened a while ago. If, however, they think it helps me to hear about it then it doesn’t. It’s a bit like telling a young woman pregnant for the first time graphic scare stories about childbirth. You just don’t do it. (I hope).  I have schooled myself simply to rise above it when someone tells me an Alzheimer’s horror story. I just chuckle inwardly, look seriously at the speaker and think: “Here comes another one”. I find it funny because, obviously, not a single one of these lovely folk realises how stereotypically he or she is behaving.

The only way I can “manage” (sounds like running a corporation) what I have to deal with is by taking every day as it comes and refusing to think (much) about the future. I’m not in denial. Of course I know that once Ms Alzheimer’s has her fangs in you it’s a downward trajectory. There will be better days and bad days but the general trend is gradual deterioration. What good would it do me, MLO or anyone else to be getting stressed and worried because this time next year he might not be able to do some of the things he can do now – such as remain in the house alone for a few hours and prepare himself a simple meal which is what he is doing  as I draft this blog on my laptop in a coffee shop 50 miles from base?

I’m thankful too that MLO has never been a very imaginative man. It used to irritate me a bit but now it’s a bonus. I honestly don’t think he can visualise what might lie ahead and nobody, thank goodness, is regaling HIM with their graphic Alzheimer’s anecdotes. He’s vaguely frightened about the future but his fairly prosaic brain – not the bit that Ms Alzheimer’s is occupying – doesn’t seem to be filling in the details. Naturally he is anxious about the forthcoming surgery for the skin cancer on his face in a couple of weeks but I don’t get any sense of his dwelling on the rest of it much which can only be a good thing. The people he meets are gentle and tactful with him as well as admirably unpatronising – and I find that quite moving. Full marks, for instance, to the Lewisham Borough Council  Occupational Therapist who did his recent blue badge assessment and to the woman at HSBC who processed our activation of Lasting Power of Attorney last week.

But I don’t suppose anyone will stop bombarding me with the awful stories they dish up for me when MLO is absent. Good job I still have a healthy sense of humour really. As ever my glass is half full.

Last week I attended the 2018 Theatre Book Prize award ceremony. From a shortlist of five titles, Nicholas Hytner won with Balancing Acts  (published by Jonathan Cape) – and the ever-engaging Rory Kinnear was there to make the happy announcement.

It set me thinking about how books work in this industry. I’m a bookish person and it seems to me that books relating to theatre – as with any other industry, activity or subject – must be integral. They remain, surely, the ultimate source of detailed information and reflection. Google’s OK for a quick fact such as Lawrence Olivier’s dates or to find out who runs the King’s Head Theatre but for in depth stuff there is no substitute for a well written book, whether you read it digitally or in hard copy.

And yet there seems – I’m afraid –  to be dwindling interest. There weren’t, I’m sad to report, many under 50’s there to applaud Nick Hytner, the runners up and the judges last week for example. It was a well enough attended event but most attendees were, like me of … well let’s just call it the book focused generation.

For years I tried to persuade The Stage to let me write a regular books column but there was never enough interest from readers to make it a goer. In the end I did a books blog for them for a while but it didn’t last long because of the low number of hits. Now I do the occasional round up of new titles here on my own website but responses are pretty thin.

It’s a great pity because there are fabulous theatre books being published all the time. 60 of them, from which the short list of five was distilled, were submitted for the Theatre Book Prize – eclectic, beautiful, fascinating, quirky, academic, entertaining and informative in varying degrees.

I receive regular parcels of new performing arts books from excellent specialist publishers such as Nick Hern Books, Oberon, Methuen Drama, Aurora Metro, Routledge and the rest. And I do my best to publicise the most impressive titles. But it’s an uphill struggle.

The truth, I fear, is that theatre books don’t appeal very widely (although they are the backbone of drama school libraries, of course) unless they are biographies or autobiographies of A list actors that the public know and love.

Nick Hytner’s book is very compelling. How on earth do you make a monolith like the National Theatre work effectively and what does the Director actually do anyway? The book is full of insights, anecdotes and reflections and it’s very readable. I just hope that the publicity which this prize will help accrue to Balancing Acts will mean good sales. Like the other four titles on the shortlist – and the 55 which didn’t make the cut, many of which I have read – it deserves to be widely consumed by people both inside and outside the industry. Books have a place and we shouldn’t lose sight of that.

Trinity Laban Conservatoire of Music and Dance

Betty Blue Eyes was performed by Trinity Laban Musical Theatre students at Stratford Circus, London.

Star rating: three stars ★ ★ ★ ✩ ✩

Betty Blue Eyes is set in the post war austerity of 1947 at the time of Princess Elizabeth’s marriage to Prince Philip. Meat is severely rationed and people are pretty fed up. Then some local bigwigs secretly breed a pig named Betty for a party with pork… cue for some delightful music from George Stiles (don’t miss the reference to Crown Imperial and the moment when he weaves Beethoven’s ‘Fur Elise’ into the texture) and lots of fun trying to keep the whole piece in period.

The very best thing in this show is Rebecca d’Lacey as Joyce Chilvers (she alternates the role at other performances with Emily Harper), an upwardly mobile chiropodist’s wife …

Read the rest of this review in Musical Theatre Review: http://musicaltheatrereview.com/trinity-laban-conservatoire-of-music-and-dance-betty-blue-eyes/

The Watermill Ensemble, 16 June 2018

I must have seen A Midsummer Night’s Dream fifty times. And over the years that has taken in some pretty memorable Bottoms, including Desmond Barrit, Ian Talbot and Bernard Bresslaw among many others. Never, however, have I seen Bottom played with the exuberance, charisma and energy that Victoria Blunt brings to the role. She is variously gleeful, shy, sad, silly, sardonic, wondrous, knowing, rueful, childlike, sexy and she has fun with every single word. I especially liked the way she tumbles cheerfully into bed with Titania, does suggestive things with her ass’s head and flirts with audience members so that everyone in the room feels special. She has an engaging way of jumping – literally – into situations too. It’s a marvellous performance and I suspect I shall judge every Bottom I see in the future against it.

The whole production (ably directed by Paul Hart) is so thoughtfully colourful and original that it’s hard to stop smiling. My face was aching with delighted beaming at the end of the two hours that it runs. Eva Feiler’s Puck is like a naughty child playing with dolls and messing things up and she is terrific as terrified Snug The Joiner thrust, and shaking with stage fright, into his role as Lion. Tyrone Huntley, as Lysander (and ensemble parts) can convey as much with a grimace or grin as some other actors can only with a whole page of words. And anyone who saw him has Judas in Jesus Christ Superstar at Open Air Theatre, Regent’s Park knows about his astonishingly expressive and very beautiful singing voice.

Although this isn’t a musical version of A Midsummer Night’s Dream, most of this talented company are also on-stage musicians and there are several songs to complement Shakespeare.

Emma McDonald as Titania/Hippolyta for instance finds compelling queenly gravitas as the former even when she’s succumbing to her baser instincts with Bottom. She plays Hippolyta as a rather diffident Spaniard who twice runs off stage in anger at Theseus’s more dictatorially insensitive remarks. And she plays saxophone on stage just as Lillie Flynn who’s excellent as the really distraught Helena with hay fever also plays flute, guitar and sings beautifully.

All the action is often integrated with music created by the cast who also provide sound effects and mood. So good at it are they could probably make a reasonable living as a dance band. The moment when they all burst into Blue Moon is unforgettable.

The performance I saw was one of two in the run integrally signed in BSL by Lixi Chivas and Ana Becker. They become part of the cast on stage often being a sort of alter ego to a character, signing words and sharing roles. Sophie Stone, an impressively moving Hermia communicates partly in sign language and partly in words and when Huntley as Lysander wants to be intimate or private with her he signs too. It’s all very intelligent, sensitive and inclusive.

It is also one of the funniest Dreams I’ve seen in a while. I shall treasure the moment when an exasperated Oberon (Jamie Satterthwaite – good) has to help a very wimpish Puck down from the scaffolding or when Joey Hickman hilariously absurd as Flute the Bellows Mender (he also plays Demetrius) races back to the piano for the final ensemble number.

Photo: Scott Rylander

First published by Sardineshttp://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-The%20Watermill%20Ensemble%20(professional)-A%20Midsummer%20Night%27s%20Dream&reviewsID=3239

Thick black flaps

Ragged, jagged, tear about my head

Wrenching me apart.

I am blinded, deafened and made speechless

By the biting, clawing, dragging.

Worried, warm, loving fingers tenderly stroke my arm and face

Trying to comfort, to sooth.

In vain. I am elsewhere, swallowed whole by my pain.

I writhe.

I kick.

I try to fight the twisting and the torture.

To sleep or to die would be sweet release.

I am drowning in pain.

Far away, safe on the dry land of every day

The doctor’s voice: ‘An infection of the middle ear’.

 

Susan Elkin, 1991

 

John Steinbeck’s heart-wrenching novella Of Mice and Men (1937) must, in recent years, have become one of the most widely read stories in English. For decades it was a GCSE set text. I taught it to dozens of classes. That means millions of teenagers (and often their families) will have read it. There have also been some pretty impressive film and stage adaptations.

So we all remember how George and Lennie are migrant farm workers in 1930s California. Lennie has what would now carefully be called “learning difficulties”. George, often exasperated but  gruffly loving, is Lennie’s self appointed carer. The relationship is fraternal, complex and based on mutual dependence.

We’ll I’ve thought a lot about Of Mice and Men lately because I often feel I’m living it (without the Californian sunshine, unfortunately). Lennie’s problems – not understanding, willing to please and forever doing things he regrets because he doesn’t want to upset George – are very similar to the dementia which characterises worsening Alzheimer’s.

Lennie, unlike My Loved One, is on the one hand physically very powerful and on the other has a child-like love of stroking soft things. It is this combination which repeatedly leads him into serious trouble whereupon,childishly, he says often to George. “I’ve done a bad thing.”

MLO’s hideously similar new line is “I’ve done something silly” and when he says this my heart, like the fictional George’s, plummets. “OMG, now what?” I think. He’s trying, like a child who knows he’s in the wrong, to be open and honest with this mother figure I’ve reluctantly morphed into. The trouble is, he’s usually so anxious about whatever it is that he can’t explain what he’s done.

Recent “silly things” have included writing a cheque with an extra nought on it so that, for the first time ever, MLO’s cheque bounced. Fortunately it was only made payable to me and it’s all sorted now. His banking habits are stuck in 1962.  But not for much longer: I’m in the process of assuming control of his personal account. Then we shall fast forward to 2018 and it will all be online.

We had a classic “silly thing” instance last week when I was out working. I phoned home between jobs, as is my wont, to check that MLO was OK and to have a chat. It was a warm sunny day and, before leaving the house. I’d installed the umbrella on the patio table and wound it half up – enough to give him a bit of shade if he wanted to sit at the table for a while. He’s never liked strong sunlight and now that he has a large, growing squamous cell carcinoma on his face (due for incision next month) I think it’s sensible to be careful. The reason I hadn’t wound the umbrella any further was because one of my carefully nurtured and rather beautiful hanging baskets was in the way – because we’ve extended the patio and I need to rethink where things go.

Well, I expect you’ve guessed by now what happened. Yes, he tried to put the umbrella up fully and knocked down the hanging basket because he, his brain all twisted up by Ms Alzheimer’s, can no longer work out that if I’ve done something in a particular way then there must have been a good reason for it – best, therefore to leave it alone and not fiddle with it. Or to put that another way he now struggles with cause and effect. And I struggle with trying to imagine how it feels to live inside his confused head.

The conversation on the phone went something like this: Me: “Something silly? What’s happened?” Him: “It’s that pink thing outside” Me (cottoning on) “Do you mean the hanging basket? You didn’t fiddle with the umbrella did you?” Him: “It’s in the middle of the table.” Me: “Did you knock the hanging basket  down?” Him: “I think so” Me: “Is it damaged?” Him (voice beginning to crack) “I’m not sure”.  Me: “Well can’t you hang it up again? Him: “I thought of that but you know that round thing ..?” Me: You mean the hook?” And so on – and on.

In the end I took a deep breath, told myself (for the millionth time) that I have to keep things in proportion and said: “OK. I’ll look at it when I get home. And if you’ve damaged it badly, well It’s only a hanging basket. We’ll buy another one.” By then, the man at the next table in the coffee shop was giving me very sympathetic looks.

In the event, all I had to do was rehang the basket and remove a few trailing bits damaged by the whole thing falling to the ground. It’s a rather worrying indication of how things are and where they’re going that MLO couldn’t work out what was needed.

At the end of Of Mice and Men, George has to shoot Lennie to save him from a much worse fate. I rather hope it doesn’t come to that.

Steinbeck Centre, Salinas, California. I took this photograph in 2013.

Chichester Festival Theatre

Susannah Fielding as Marjorie. Credit: Manuel Harlan

Shakespeare, whose plays were written more than half a century before The Country Wife, is timeless. Wycherley is not. You can very successfully set Shakespeare in any period or place, as directors routinely do, and the material will always be topical.

But The Country Wife is a very different sort of piece, Dating from 1675 it relates entirely to the hedonistic reign of Charles II which followed eleven years of Puritan republicanism including the closure of theatres. Like dozens of other “Restoration Comedies” it is, in every sense, a period piece. It is absolutely of its time. Setting it in 2018 as Jonathan Munby does is theatrically disastrous.

Horner, who pretends to be impotent after catching “the clap” in France (Lex Shrapnel does his best with the role) so that he can seduce more women whose husbands will now trust him doesn’t work out of context. Modern women, even in this age of grooming, internet dating, Weinstein and the rest, are not controlled by their husbands. Most make free sexual choices and decisions for themselves. And the disco lighting, dances and bits of set (drinks cabinets, a burger barrow, a leather sofa et al) which whizz on and off are just wearily gimmicky, like the song which apropos of nothing in particular opens Act 2 although the fight which takes place in a kitchen with kitchen implements such as a hand held electric food mixer is amusing.

Oh yes, the humour. If you rip this play, probably the finest Restoration Comedy of them all, untimely from its creator’s context then it ceases to be more than mildly witty – occasionally. Done properly (the version Jonathan Kent directed at Theatre Royal Haymarket in 2007, for example) it is roll-in-the-aisles funny. And presumably Munby doesn’t like the famous china scene, which, laden with doubles entendres, should be a high spot of hilarity. It’s so woefully underplayed here that it passes almost unnoticed. There are problems with the language too. If a character in a raucously 2018 setting says “You intend to be honest?” or “She has gone abroad” it means something completely different from what Wycherley actually meant. (Honest meant chaste in the 17th century and abroad meant outdoors) so even the story telling suffers.

Of course – this is Chichester Festival Theatre after all – there is some good casting and commendable acting lurking in this tortuous, ill-judged distortion of a fine play. Susannah Fielding, dressed mostly in yellow, with a wheely suitcase to match, as the titular young wife brought to London from the country finds a compelling blend of innocence and guile in Marjorie. John Hodgkinson is twice her size as Pinchwife and is often – refreshingly – quite sinister rather than merely laughable in his fulminations. Scott Karim is fun too as a very camp Sparkish with an affected manner and nicely managed vocal tics.

This disappointing production, despite high-speed dialogue delivery and slick scene changes runs nearly three hours. Sadly, it seems a lot longer.

First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Chichester%20Festival%20Theatre%20(professional)-The%20Country%20Wife&reviewsID=3237

Performance Preparation Academy – PPA

The Producers is an ideal choice of show for students in vocational training. It’s an entertaining book, beautifully written and brimful of interesting character parts so there’s plenty for everyone to do. And co-directed by Lewis Butler, who also choreographs and Nick Charters who also MDs, it becomes a strong showcase for talent of which there is plenty in this cast.

The piece works because it’s the theatre industry sending itself up. For anyone unfamiliar with the plot: two men decide that they can, if they cheat a bit, make more money out of a Broadway flop than a hit. Inevitably their attempt to stage a spectacular dud misfires and gets rave reviews. Along the way are a whole raft of engaging subplots.

Jordan Harrison is very watchable and the central character Max Bialystock. He is versatile and funny and his role is well sustained and skilfully developed to the end. I particularly admire his stillness in the court scene and his effective comic timing. His singing isn’t great but he holds his own.

Charles Camrose has enormous fun as the absurdly camp director/actor Roger de Bris. It’s outrageously funny but also carefully balanced especially when he’s ridiculing Hitler in the show which goes right but isn’t meant to. Jack Oliver is a fine, elegant Carmen Ghia, Roger’s lover and grounded sidekick. And Zak Lawrence squeezes every possible drop of humour out of the crazy Hitler-loving, pigeon-fancying playwright, Franz Liebkind.

Some roles are played by different actors at other performances because this graduating cohort is a large group of 35 students.

There is an occasional problem with diction. Mel Brooks’ words are glitteringly witty – as good in their way as WS Gilbert’s – and the audience should hear every single one of them. Delivery needs to be a little crisper than it sometimes is.

I know bands are pricey but this show would have done even greater justice to Mel Brooks’ fine score (with its references to Wagner, the German National Anthem, Irish dance, Rule Brittania and much more) if it had been accompanied by live music. And while we’re on the subject of music why, oh why, didn’t someone who knows coach Jack Osmond in how to how to hold a violin convincingly? As the blind fiddler, he is otherwise strong in the role so it’s a shame for it to be marred by a technicality.

 First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Performance%20Preparation%20Academy%20-%20PPA%20(student%20productions)-The%20Producers&reviewsID=3231